Aalborg Universitet

Experimental improvisation practise and notation. Addenda 2000-

Bergstrm-Nielsen, Carl

Publication date:
2015

Document Version
Author final version (often known as postprint)

Link to publication from Aalborg University

Citation for published version (APA):

Bergstrm-Nielsen, C. (2015). Experimental improvisation practise and notation. Addenda 2000-: Pdf
edition.Intuitive Music Homepage.

General rights
Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners
and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.

? Users may download and print one copy of any publication from the public portal for the purpose of private study or research.
? You may not further distribute the material or use it for any profit-making activity or commercial gain
? You may freely distribute the URL identifying the publication in the public portal ?
Take down policy
If you believe that this document breaches copyright please contact us at vbn@aub.aau.dk providing details, and we will remove access to
the work immediately and investigate your claim.

Downloaded from vbn.aau.dk on: September 01, 2015

EXPERIMENTAL

IMPROVISATION PRACTISE AND

NOTATION.

AN ANNOTATED BIBLIOGRAPHY.

by Carl Bergstrm-Nielsen.

This is a pdf version. See date from file properties. Please note that there is
both the "old" department, 1945-1999 and addenda for since then. Two
separate volumes.

The html editions may be slightly more updated. They can be found at
http:/www.intuitivemusic.dk/iima/cbn.htm

Please note that the hyperlinks in this version may not work because the
document is converted from html. You may have to leaf through the pages and to
jump back and forth to read the endnotes. You can, however, use your Adobe
Readers facilities for this and also search for any text string.
IIM A - International Improvised Music Archive To Front Page...

EXPERIMENTAL IMPROVISATION PRACTISE AND

NOTATION.
AN ANNOTATED BIBLIOGRAPHY. ADDENDA 2000-
by Carl Bergstrm-Nielsen

Newsletter with feeds and editorial digest a couple of times a year:

http://www.intuitivemusic.dk/intuitive/imail.htm
Archive of Newsletters

This is a continuation of the previous large bibliography with its more than 650 entries which
ended with the publishing year of 1999 (apart from some very few exceptions, please see note
1) in that text). This one solely lists works and literature published from 2000 and on, while
newly discovered addenda to the other one are included there.

If you are here for the first time or if you are doing a general literature search, be sure to
see the really large one here.

See some imagined FAQs here!

In the event that an URL is no longer active, you may try www.archive.com with its "wayback
machine" which can in some cases find old material, even after many years.

Even though many entries are detailed, I've taken a more relaxed approach to this addenda list
than to the other bibliography. It aims less towards being exhaustive, in the relative meaning of
making sure I get all I think may be important to some degree, not that exhaustiveness really
could exist in an absolute sense. There is much less systematic search of databases etc.(see
the remarks before each category in the "Appendix" section in the large bibliography).
Therefore, those who search should even more here not refrain from making their own
investigations! It must also be noted that not only are databases better updated now than at the
time of completion of the big bibliography, but they might have grown both more, bigger and
more comprehensive. This could be an open field for further research, certainly also into
materials dating before 2000.

Readers are welcome to suggest new material (here), but I reserve the right to decide about
possible inclusion, with views to both quality and the limitations of the scope of this list (for
instance, it deals exclusively with music).

Items here appear with their category codes between (parenthesis), distinguishing the new list
from the old.

Don't forget to look up the "see also" references at the beginning of thematic sections - one
writing may have several virtues ;-)
CLASSIFICATION SURVEY
This system has been employed for classifying the subjects (taken over from the 1945-1999
bibliography):
VARIABLE WORKS AND
AURAL SCORES
A. EDITIONS OF WORKS
AND AURAL SCORES
A1. 13 representative
examples (annotated)
A2.1. Some relevant
independently published
composers (Danish and
foreign). A checklist.
A2.2. Some Danish and
foreign
anthologies/series/collections.
A2.2.1 SELECTED
PUBLISHED WORKS (new
category)
A3. Danish works.
A4. Aural scores (both foreign
and Danish)
B WORKS AND AURAL
SCORES HAVING BEEN
PUBLISHED IN EXTENSO,
BUT NOT AS INDEPENDENT
EDITIONS
B1. Improvisation recipes by
students of Aalborg University
B2. Various works published in
Denmark
B3. Various foreign works
B4. Aural scores (both danish
and foreign; annotated)
WRITINGS
E. WRITINGS ON NOTATION
E1. General and large writings
E2. Specific themes
E3. The "Bent Lorentzen -
debate" 1987-88
F. COLLECTIONS OF
EXERCISES, WRITINGS AND
MUSIC WORKS FOR
EDUCATIONAL USE
F1.1 Collections of exercises
and related writings
F1.2 Lilli Friedemann
F1.3 Gertrud Meyer-Denkmann
F2 Miscellaneous writings
F3 Music works for educational
use, collections of such works
and series
G. WRITINGS ON
IMPROVISED MUSIC
G1.1 General surveys and
general history
OTHER
I. RECORDINGS (only a
restricted category here)
I1. Variable works and
music played from recipes
I2. Free improvisations
J. ELECTRONIC
ADDRESSES AND
RELATED
J1.1. Selected internet
addresses
J1.2: On Brian Eno's
Oblique Strategies on the
internet
J2. CD-ROM
K.EXHIBITIONS OF NEW
NOTATIONS AND THEIR
CATALOGUES
a) Copied from Davies
(1986B;E1)
b) Some further
exhibitions and catalogues
L. EDDIE PREVOST ON
ASSOCIATION OF
IMPROVISING
MUSICIANS

C: WORKS AND AURAL
SCORES, PARTS OF WHICH
HAVE BEEN QUOTED IN
PUBLICATIONS
C1. Danish / publ. in Denmark
C2. Foreign
D. UNPUBLISHED WORKS
AND AURAL SCORES
D1. Various works - Danish
and foreign
D2. An annotated selection of
compositions by Niels Viggo
Bentzon available at Edition
Wilhelm Hansen
G1.2 Periodicals, specialised
G1.3 Periodicals, general M. A SHORTLIST OF
RECOMMENDED
G2.1 Documentation, reports WRITINGS
and discussion concerning
specific improvisors, groups,
works, events, tendencies
G2.2 Stockhausen
G2.3 Zorn
G2.4 Earle Brown's December
52
G2.5 Wolff
G3 General philosopy,
aesthetics, music theory and
music analysis
G4 Psychology
G5 Miscellaneous writings
H. OTHER WRITINGS.
H1 General accounts of music
history, dealing thoroghly with
themes concerning new
notation forms and/or
improvisation
H2.1 Bibliographic and
discographic literature
H2.1.1 Publisher's catalogues
H2.2 Biographcal literature
H3.1 Literature on music
therapy
H3.2 Writings related to the
teaching of Intuitive Music and
Graphic Notation at Aalborg
University and other places
 H4 Miscellaneous other writings

CONCERNING LIBRARIES (abbreviations used and various information)

AEST: stetikbiblioteket, Langelandsvej 139, 8000 rhus C, Bygning 582. Open shelves.
Contents can be seen from the internet - see J1.1.

AUB: Aalborg Universitetsbibliotek, Langagervej, 9220 Aalborg st. Open shelves. Contents
can be seen from the internet - see J1.1.

AUM: Institutbiblioteket for Musik og Musikterapi, Kroghstrde 6, Aalborg Universitet. No public

loans.

BRIT.LIBR.: British Library, London. Contents can be seen from the internet - see J.

DKDM: Det Kgl. Danske Musikkonservatorium, Kbenhavn. A substantial part of the collection
on open shelves. In the year 2000, an registration was started (CDs first), becoming available in
REX (see Kgl. Bibl. under J).

DKDM+D: Same, recording matching the entry exists also.

EM: Esbjerg Musikkonservatorium. Open shelves. No public loans.

FRBMB: Frederiksberg Musikbibliotek.

GLHB: Gladsaxe Hovedbibliotek.

HB: Hovedbiblioteket, Kbenhavn. Open shelves, however, literature of earlier dates in stores.

IMD: Internationales Musikinstitut Darmstadt, Nieder-Ramstdter Strasse 190, D-64285

Darmstadt, tel. +49 (0)6151 13-2416 eller +49 (0)6151 13-2417. Special library for new music.
Accessible for persons according to arrangement. Possible to obtain loans via post, also
internationally.

KB: Det Kongelige Bibliotek, Kbh. [Royal Library, Copenhagen]. Contents in the database REX,
also on the internet, see under J.

LOGOS: Logos Music Archives, Kongostraat 35, B-9000 Gent, Belgium. Library and archive for
experimental music. Periodicals are indexed so that one can search them according to
keywords etc. Contains also a number of unpublished music works.

MI: Musikvidenskabeligt Institut ved Kbenhavns Universitet. Open shelves.

MKAR: Musikkonservatoriet, rhus. No public loans. Open shelves. Contents acquired from the
year 1990 can be seen in an internal database, before that time on catalogue cards.

MVAR: Hndbiblioteket. Musikvidenskabeligt Institut, Langelandsvej 139, bygning 580, 8000

rhus C.
NJMK: Nordjysk Musikkonservatorium. Open shelves. Internal database.

OUB: Odense Universitetsbibliotek. Situated at the Conservatory of Music. A limited selection

on open shelves. Contents can be seen in Odin, see J.

SB: Statsbiblioteket, rhus. Public loan. Contents can be seen from the internet - see J.

B: rhus hovedbibliotek.

DR: Danmarks Radio, internal library.

VARIABLE WORKS AND AURAL SCORES

A. EDITIONS OF WORKS AND AURAL SCORES

A2.2. Some Danish and foreign anthologies/series/collections.

(a2.2)/ Ames, Anke: Gaia. Kompositionen fr improvisors, Dortmund (Musikverlag Manfred

Weiss) 2003.
Collection of open compositions. Graphics and German texts.

(a2.2)/ Bergstrm-Nielsen, Carl: Postcard series. Publ. by author, 1976, 1980. Danish and
English texts. Contains Postkort-Musik/Postcard-Music, Ild-Musik/Fire-Music, Kontrast-
Spil/Game of Contrasts, S-Spil/Sea-Game, Ettone-Spil/One Note Game, Fyld-ud Spil/Fill Out
Game, Textmusik III/Textmusic III, Pusle-Spil/Puzzle Game. DKDM, AUB

(a2.2)/ Lely, John; Saunders, James (ed): Word Events. Perspectives on Verbal Notation. New
York (Continuum), 2012.

A comprehensive anthology of 40 scores. All accompanied by, as far as has been possible to
collect, a recent comment by the author, and by an editor's comment. In total, more than 170
are cited in the book.

First part of the book is a detailed description of the functions of the co-called Systemic
Functional Grammar. It aims at being descriptive, not prescriptive and sees a number of
contextual, situational and social dimensions as part of the language. These dimensions are
illustrated with references to the pieces of the anthology. One point pointing to the relevance of
this approach is that suggestions for performance need not be formulated in the imperative.

Collecting a vast material in one publication, the book is indispensable for Fluxus studies.
However, in Fluxus focus is often on the overall performance situation, including its theatrical
elements, and sound production is often touched upon just as a hint or in indirect ways. This is
so even though Fluxus used the music performance situation as its jumping-off board.
Moreover, it used the the music production habit of the score (rather than a theater manuscript),
thus employing a division of labor between author and performer - and extending insight into the
ideas of specific pieces beyond the performers.
Those who, like the present author, take a more definitely focused approach to differentiating
sound, its structures and processes will still find pieces and composers of interest. But this is
not what the book is largely about.

There is a good reference list, including sections on anthologies, publishers and internet sites.

(a2.2) Oliveros, Pauline: Four Meditations for Orchestra, Deep Listening Publications 1996.
Although written for orchestra in this publication, this selection seems also to be playable by
small ensembles - in fact, The Tuning Meditation previously appeared in a collection for
meditative work with voices (Deep Listening Pieces, Deep Listening Publications 1990) with a
slightly different description. These pieces deal with silence, with pitch exchange, with
interdependence (=sending and receiving sounds), and with a central sound to approach and
depart from. They describe musical elements and actions, whereas the other collection
mentioned as well as Deep Listening Anthology 2009 rather describe meditative work leading to
music activity and music sound.

(a2.2)/Plaetner, Jrgen og Bergstrm-Nielsen, Carl: improvisationskalender. 366 stykker. Kbh,

edition-s.dk, 1996. DKDM AUB SB

(a2.2.1) SELECTED PUBLISHED WORKS (new category, not in the pre-2000 list)

(a2.2.1)/ Ames, Anke: Bast Siegel, Dortmund (Musikverlag Manfred Weiss) 2005.

For music and dance. 40 sheets, some of them in colours. Texts in English and German.

(a2.2.1)/ Broetzmann, Peter: Signs. A card game, 2002.

A collection of cards in a box with various fantasy-stimulating suggestions. Made for an

exhibition at Ystad Art Museum, Sweden in a number of 120 copies. Contact email:
broetz@wtal.de

A2.2. SOME DANISH AND FOREIGN ANTHOLOGIES/SERIES/COLLECTIONS.

(a2.2)/ See also: Bergstroem-Nielsen (2007;G3) - Sauer (2009;(E1))

(a2.2)/ See also Gronemeyr et al (2007; g1.2)

(a2.2)/ Stockhausen, Karlheinz; von Hintzenstern, Michael: Booklet for Stockhausen Complete
Edition CD 17.1, 2005.

This booklet contains reprints of 6 out of the 17 pieces notated with texts contained in the
collection For Times to Come (1970, publ. 1976): Shortening - Awake - Halt - Presentiment -
Inside - Waves. Also a short article by Michael von Hintzenstern on the history of this ensemble,
the collaboration with Stockhausen over the years and a report of the work preceding these
recordings.
A2.2.1 SELECTED PUBLISHED WORKS (new category)

A3. DANISH WORKS.

(a3)/ Else Marie Pade: Faust, 1962. Facsimile af partitur til elektronmusik. Offset-print 48,5 x 65
cm. Oplag: 420. Signeret, dateret og nummereret. Copenhagen, (Den Danske Radeer-
Forening, Nr. 524), 2012.

A4. AURAL SCORES (both danish and foreign; annotated)

(a4)/ Damgaard, Lisbeth: Aural score for Pade, Else Marie: Symphonie Magnetophonique
(1958), in: Bruland, Inge: Else Marie Pade og Symphonie Magnetophonique. biografi,
interviews, lyttepartitur, partitur, cd, Museum Tusculanum Press (University of Copenhagen)

B WORKS AND AURAL SCORES HAVING BEEN PUBLISHED IN EXTENSO, BUT NOT AS
INDEPENDENT EDITIONS

B3. VARIOUS FOREIGN WORKS

(b3)/See also ringgesprch (2004; (G2.1)).

(b3)/ la Barbara, Joan: "Voice piece: one-note internal resonance investigation" (1975) and
"Circular Song". In: MusikTexte 116, p.6-7, February 2008.
Two pieces exploring extended vocal techniques notated with verbal and graphical means.

B4. AURAL SCORES (not publ. as separate editions; both foreign and Danish)

(b4)/ Bremberg, Brita; Kruse, Gro Shetefig; Nielsen, Mette Stig: Listen to Scandinavia,
Copenhagen, Edition Wilhelm Hansen 2007.
The electronic music by Bent Lorentzen comes with an aural score by the composer.

C: WORKS AND AURAL SCORES, PARTS OF WHICH HAVE BEEN QUOTED IN

PUBLICATIONS

(c2)/ See also ringgesprch (2004; G2.1).

(c2)/ See also Nonnenmann (2010; G2.1).

(c2/)/ Spahlinger, Mathias: "doppelt bejaht" (2009) for symphony orchestra, in: Nonnenmann,
Rainer: "Wider den Utopieverlust. Mathias Spahlingers "doppelt bejaht" beschreitet neue
Bahnen". MusikTexte 124, Februar 2010.
Graphically and text-notated composition. Performed at Donaueschinger Musiktage 2009.

D. UNPUBLISHED WORKS AND AURAL SCORES

(d1)/ Wilson, Peter Niklas: "Ohne Titel" [posthumous - fr Kontrabasquartett und Ensemble
(2001)], MusikTexte 99, Dezember, 2003.

A plan to play from. Wilson was both musician and writer about improvised music.

WRITINGS

E. WRITINGS ON NOTATION

See also: Lely et al (2012; A2.2)

(e1) / Amelunxen, Hubertus von (ed.); Appelt, Dieter, Weibel, Peter (Hrsg.): Notation. Kalkl und
Form in den Knsten. Contributors: Amelunxen, Hubertus von; Appelt, Dieter; Baumgartner,
Michael, Beauvais, Yann; Blum, Eberhard; Boulez, Pierre; Frizot, Michael; Greenough, Sarah;
Haus, Andreas; Kanach, Sharon; Kittler, Friedrich A.; Kudielka, Robert; Lammert, Angela;
Louppe, Laurence; Mannoni, Laurent; Rajchmann, John; Rheinberger, Hans-Jrg; Schmied,
Wieland; Schneider, Birgit; Schubert, Howard, Speck, Reiner; Weibel, Peter; Zimmermann,
Heidy. Exhibition Catalogue, Berlin (Akademie der Knste)/Karlsruhe (Zentrum fr
Medientechnologie), s.a. [2008]. 423 pages. ISBN 978-3-88331-123-4.

This book comprising more than 400 pages in large format is an exhibition catalogue. Apart
from a full catalogue of all exhibited works and various additional illustrations, 23 articles deal
with "notation" in some broad sense of the word. Thus, from von Amelunxen we can learn that a
number of architects from the 1950s and on incorporated flexibility into their plans and
drawings. Hans-Jrg Rheinberger examines various forms of notes and schemes made by
practioners of natural science. - Since there is no clear (let alone common) definition of the
subject matter among authors, the book appears like a giant, concerted brainstorm. One may
find materials to nurture the readers' own thoughts, but I have not come upon any systematic
mappings and guidances. There seems to be a need also of writers who commit themselves to
such research which could make it possible to approach more of an overview of what has
happened in art and science fields outside one's own.

(e1)/ Ashwal, Gary; Malsbury, Evan; Chung Soojin; Prajapati, Sheetal; Feldman, David; Welch,
Samsurin; Mikyung Kim, Eugene: Pictures of Music [2001].
http://www.blockmuseum.northwestern.edu/picturesofmusic/index2.html
A general web presentation of a number of American and some European composers' graphic
works.
(e1) Bosseur, Jean-Yves: Du son au signe. Paris (ditions Alternatives), 2005.
P. 102-134, "La notation partir des annes cinquante", is a fairly comprehensive collection of
excerpts from works notated in new ways. They are presented in an order of increasing
openness. These examples could be a good supplement to the authors' general book on new
music Bosseur 1993; H1. It is recommended to look at both, since tendencies and purposes of
the notations are more explained there - in particular, verbal notation is given a less superficial
treatment.
Previous chapters deal with older notation. This includes also tendencies to specify more and
more - Mlzel's invention of the metronome, as we learn p.87, was a piece of technology
influencing this in the beginning ot the nineteenth century. It is documented how Beethoven had
an ambivalent attitude to exact tempo indications, both showing his interest and at times
stressing their limits or being irritated at them.
Composers featured in the new music chapter (some with several examples) are: Kagel,
Ferneyhough, Penderecki, Ligeti, Stockhausen, (Mion, transscriptor for Francois Bayle), Earle
Brown, Feldman, Cage, Christian Wolff, Cardew, Bussotti, Logothetis, Pousseur and Tom
Phillips.

(e1)/ Buj Corral, Marina: Circular Graphic Scores: Between Time and Space. BRAC - Barcelona
Research Art Creation. Vol. 2 No. 3, October 2014, pp. 277-300
From the author's English summary: "...it has been found that frequently circular notation
corresponds to musical structures of cyclic and repetitive nature. Moreover, circular scores
allow incorporating elements of openness in interpretation, such as the duration of the work, the
choice of reading direction or starting point. Circular scores advantage the analysis of the
musical structure of the piece and provide flexibility to interpretation. In addition, they show that
spatiality is a condition of music, as well as temporality". Works by Lombardi, Crumb, Takemitsu
and Bergstroem-Nielsen are quoted.

(e1)/ Buj Corral, Marina: Grafismos en la msica: Origen y desarollo de las partituras graficas",
www.sinfoniavirtual.com Edicin 24 Enero 2013, ISSN 1886-9505.
A good elementary introduction to the phenomenon of graphic notation. Mention is made of
inspirations from visual art to the New York School composers, to Haubenstock-Ramati's
distinction between graphic notations and musical graphics (the latter are seen as primarily
visual works, although they may be translated into music by players). Further, of the new, open
performance practise, the influence of indeterminacy and "philosophical and political aspects" -
the latter dealing tith the inclusive aspect extending into non-professionals. The author has
studied these matters within a visual arts university institute.
Quoted are: Feldman, Projection 1; Brown: December 52; Schnebel: Mo-No; Cage: Variations
III;Cardew: Treatise; Yoko Ono: Voice Piece for soprano. Further, two aural scores:
Stockhausen: Study II (Studie II) and Wehinger's aural score of Ligeti: Articulation.

(e1)/ Cox, Christopher: Every Sound You Can Imagine. Programme booklet for the exhibition at
Contemporary Arts Museum Houston, 2008. ISBN 978-1-933619-15-6. Also online at IIMA:
http://www.intuitivemusic.dk/iima/cox_es.htm.
This short article brings to light some important aspects of the role of notation in Western
music culture. "...notation is a relatively recent invention in the history of music, as is the
distinction between composition and performance" the author states. However, he goes back to
the Middle Ages to point out that the role of notation initially was that of a "Mnemonic aid...that
became ever more necessary with the introduction of multiple melodic lines". In later history, the
market replaced courtly patronage, and written music became the answer to the need of the
market for exchangeable objects and commodities (with the invention of printing as an important
step, I am tempted to add). Copyright legislation pushed this development further. Staff notation
became an international standard but later went into a crisis after mechanical reproducing
means were invented. Some composers began to employ new sounds that could not be notated
in the old system, and new electronic instruments were invented. During the same period, jazz
became a part of Western culture, in which the score was considered "a mere sketch, a
springboard for creative improvisation". Some composers with classical background saw
experimental notation as a springboard for improvisation; some jazz composers saw it as a
means to avoid chaos and competetive behaviour. A number of experimental scores were
written from the 1950s and on. From the 1990s and on, the popularization of electronic music
production together with video production revived the interest in notational experiments on a
cross-aesthetic basis.

(e1)/ Cox, Christoph: "Die Partitur fliessen lassen. Die Geschichte der musikalischen Notation
und die Arbeit des Klangkunst-Kollektivs "Grpat"". MusikTexte 125, Mai 2010, p.51-57.
Comments to works by the "Grpat" group are preceded by a historical overview of the role of
notation in Western music.
Scores are special for Western culture; globally, oral culture is the norm. In the middle ages
notation was employed as a memory aid. With capitalism, the market became the place for
sustaining musicians economically instead of wealthy maecenas, and the score became an
object that could be sold. - In this way, Cox ironically remarks, the score assumed a reputation
as the basis of music, in a manner comparable to philosophical assumptions stating that
"essences" are more fundamental than "phenomenons". Improvisation in real time became
suppressed because of this development. With the advent of electronic reproduction
technologies, the role of the score was strongly challenged, and at the same time, many new
sounds became possible for musical use, not just tones and their combinations. This being so,
and with jazz having become part of Western culture, there was a fruitful climate for the
discovery of indeterminacy, experimental music, graphic scores and improvisation. Earle Brown
employed 'indeterminate notation strategies' in order to revive improvisation among classical
musicians. Free jazz composers like Anthony Braxton and Wadada Leo Smith, however, used
scores in order to avoid chaos and competetive behaviour - the author sees Zorn's game pieces
in this context, too.
While these phenomena were typical of the 1950s and 60s, the next historical change came
about, according to the author, in the nineties. Cheap and portable computer technologies and
the internet made information more sharable, also between art forms. In this new context, the
score becomes a means for coordination of events. Instead of the old notion of 'synaesthesia'
one could speak of 'metapher' and an interest in combining contrasting sensory experiences.
Since long, non-traditional scores have challenged both the concept of the musical work and
that of copyright. Cox sees this as typical of the Grpat collective and describes a number of
their works. He also thinks that the idea of "flow", which is typical of the most recent historical
phase, has become a theme in the works here.

(e1)/ Dimpker, Christian: Extended Notation. The depiction of the unconventional. Zrich/Berlin
(LIT Verlag), 2013.
This book is an updated version of the kind of catalogue books published by Stone (1980;E1),
Risatti (1975;E1) and Cope (1976;E1). The author makes his aim explicit: it deals with nethods
being "1.as exact as possible and 2. as simple as possible. Moreover, they may 3. not be
contradictory to traditional notation, but should instead extend and be closely related to it.
Finally ... they need to be... compatible with, and distinct from, all other signs of the system"
(p.2). This approach means, for the author, that even proportional or optical notation (using
space measured in centimeters instead of metrum) is excluded.
So this work is not aiming at a comprehensive view of new notations and understanding of
their systems but confines itself to a listing of details that can be added to metric notation. Alas,
we are still in need of such a systematic survey. In the meantime, one must still point to the last
section of Karkoschka (1966;E1), to Gieseler (1975;H1), Brindle (1975/1986;H1), Maegaard
(1964/1971;H1 - for those who read Danish), Sutherland (1994;H1). And, to the recent Sauer
(2009;E1) at the time of writing. As well as, of course, to individually published works and
various additional writings. PhD students searching for issues, go ahead!
On its 346 pages it covers, however, a wealth of alternative techniques, also vocal,
electroacoustic and sound recording. As the author states p.2: "these criteria... remain
subjective, and anyone who cannot accept them might not be satisfied with the results of this
work. In such a case, other methods may, however, be derived from the presented suggestions
and this work be used to study unconventional instrumental playing techniques and the
elements of electroacoustic music".

(e1)/ Kopp, Jan: "Vom Handlungssinn der Schrift. Die Erfahrung des Musikers als Gegenstand
von Komposition". MusikTexte 125, Mai 2010, p.32-43.
The title of this article could be translated as "On the significance of action in music writing.
The musicians' experience as the object of composition".
Starting-point of the discussion is two prominent historical instances of polemics about
notation and performance respectively. The first is Dahlhaus' critique of Earl Brown's notion of
'action writing' which he finds regressive, seeing it as suggesting an escape from dealing with
the work as an aesthetic object and with its structure. The other one is Adorno's critique of
alleged, superficial "just play" attitudes.
This leads the author to proposing the thesis that a music work exists on three levels at the
same time: those of abstract and formal structure, acoustic sound phenomena, and a sequence
of physical actions. It is important, he implies, to consider the potentials of them all.
Next follow four analysis of music works. Karlheinz Stockhausen devised an open form for
Klavierstck XI (1956) in order to create a new, more lively, kind of instrumental music, on the
background of the fixed character of electronic music at that time and of what he called "radio
listening", characterised by habitual listening expectations.
Morton Feldman attempted to introduce an irrational contrast element in the form of
unspecified, non-standard intervals in "For John Cage" (1982) by using double accidentals.
Klaus K. Hbler, in "Opus breve" (1987), details out playing actions using several systems or
"parts". Thus the work structure is very much tied to the actions have been notated as
polyphony, although there is a "listener-player-dilemma" in that these cannot be heard in their
totality.
"zikaden" from Mathias Spahlinger: vorschlge (see (F1.1:1993) is notated with verbal means
in few sentences. Yet it accounts for all three levels of the music work: structure, sound and
actions. Moreover, through the commonly understandable medium of words (and, one might
add, the short and concise character of the text), the "listener-player-dilemma" is to some extent
solved, or bridged.
The author concludes that the idea of a "new instrumental music" (as Stockhausen sought for)
needs yet to be more fully explored and developed. There is a discrepancy between listener's
and musicians' points of view. Composers, on their side, tend to stick to their interest in the work
as an aesthetic object, concentrating their efforts on structure and sound, neglecting the
potential of action, including communicative behaviour.
Sticking to conventions of notation will not do justice to the manifold imaginable compositional
intentions, neither to the expectation that new aesthetic contents and experiences are
formulated in new music texts, says the author. To him, the analytical examples demonstrate
that musical content and form of notation are intimately bound to each other.
To be sure, the situation to strive for ought not be narrowed down to "communal listening" (as
Stockhausen also stated as an ideal), but could be called a "communal aesthetic practise".

(e1)/ Sauer, Theresa (ed): Notations 21, New York (Mark Batty Publishers), 2009.
www.notations21.net
This anthology documents how the field of innovative non-traditional notations is strongly
alive. Most of the notations quoted have been created after 2000, next comes the nineties,
followed by the eighties, so there is no lack of proof of recent work being made. Cage
(1969;A2.2) was the inspiration for this work - contemporary technique allows, however, for
colours. Works, some of them entire ones, comments to works, short composers' biographies
and articles providing personal thoughts by composers about the nature of their notations are
included. Attempts at historical and systematical overview is not the focus here but the book
might well inspire others to such endeavours (you may, in any case, consult Cox (2008:(E1)). A
useful and inspiring collection for everyone interested and a must for libraries that have an
interest in new music.
The following authors are represented (there are 165 authorships, that is, a few works have
several authors): Victor Adan, Beth Anderson, Kerry John Andrews, Steve Antosca, Cecilia
Arditto, Robert Ashley, Kevin Austin, Trevor Baca , Dennis Bthory-Kitsz, Steve Beck, Irene
Becker , Cathy Berberiane, David Berezar, Carl Bergstrm-Nielsen , Philip Blackbourn,
Benjamin Boretz, Sam Britton, Earle Brown, Herbert Brn, Ellen Burr, John Cage, Allison
Cameron, Joe Catalano, Raven Chacon, Chris Chalfant, Jef Chippewa, Kyong Mee Choi,
Henrik Colding-Jrgensen, Nick Collins, David Cope, Philip Corner, Brent Michael Davids, Tina
Davidson, Mario Diaz de Leon and Jay King, Robert Denham, Halim El-Dabh, Robert Erickson,
Pozzi Escot, Julio Estrada, Rajmil Fischman, Robert Fleischer, christopher cox, Bruce
L.Friedman, Guillermo Galindo, Malcom Goldstein, Daniel Goode, Guillermo Gregorio, Barry
Guy, Barbara Heller, Brian Heller, William Hellermann, Mara Helmuth, Sven Hermann,
Christoph Herndler, Alan Hilario, Robin Hoffmann, Peter Hlscher, Tsai-yun Huang, Christoph
Illing, Lynn Job, David Evan Jones, John Kannenberg, Suk-Jun Kim, Panayiotis Kokoras,
Slavek Kwi, Joan la Barbera, JohnLane, Mark Langford, Hope Lee, Cheryl E. Leonard,
Charlotte Lindvang, Anestis Logothetis, Bent Lorentzen, Martin Sebastian Loyato, Michael
Maierhof, TYler Mains, Keerit Makan, Dan Marmorstein, Dimitris Maronidis, Tony Martin, Kate
Maxwell, Cilla McQueen, Rajesh Menta, Ann Millikan, Ren Mogensen, Stephen Montague,
Robert Morris, Gordon Mumma, Gal Navard, Phill Niblock, Gary Noland, Makoto Nomura, Eoin
O'Keefe, Pauline Oliveros, Vagn E. Olsson, Paul Paccione, Marianthi Papalexandri-Alexandri,
Brice Pauset, Tommase Perego, Joe Pignato, Jonathan Pitkin, Samuel Pluta, Larry Polansky,
Alwynne Pritchard, Anthony J.Ptak, Takyuki Rai, Randy Raine-Reusch, Jon Raskin, Henrik
Ehland Rasmussen, Herman Rechberger, Will Redman, Wendy Reid, Steve Roden, Dirk
Rodney, Keren Rosenbaum, David Rosenboom, Marina Rosenfeld, Daniel Rothman, Theresa
Sauer, R.Murray Schafer, Len Shidlowsky, Catherine Schieve, Daniel Schnee, Brian Schorn,
Barry Schrader, Phillip Schulze, Michael J.Schmacher, Eliott Sharp, Marilyn Shrude, Stuart
Saunders Smith, Juan Maria Solare, Mathias Spahlinger, Jack W. Stamps, John Stead, Norbert
Stein, Hans-Christoph Steiner, Peter Sterk, Karlheinz Stockhausen, John Stump, Chiyoko
Szlavnics, Yuji Takahasi, Justinian Tamusuza, John Tchicai, James Tenney, Voya Toncitch,
Laure Toxvaerd, Jeffrey Trevio, Andrea Valle, J.Simon van der Walt, Ivan Vincze, Stephen
Vitello, Doublas C. Wadle, Jennifer Walshe, Clive Wilkinson, Michael Winter, Ren Wohlhauser,
Ge-Suk Yeo, David Young, Katherine Young and Jonathan Zorn, Judith Lang Zaimont, Edson
Zampronha, Peter Zombola, Jonathan Zorn , Richard Carlyon, Philip and Gayle Neuman,
Morgan O'Hara.

(e1)/ Solare, Juan Maria: "Notacin: fetichismo e iconoclasia" (Necesidad y relatividad de la

partitura) (2008). In Spanish. L'Orfeo (Mxico) Nr. 1 (Octubre de 2008)
(http://www.lorfeo.org/01Oct/html/invitada.htm). Also at International Improvised Music Archive:
http://www.intuitivemusic.dk/iima/jms_nfi.htm

The article discusses a variety of general aspects around notation, including relations between
written and oral procedures in conveying musical ideas. Both the practical effectiveness of the
score (in some cases) and the directness of oral procedures, as well of recordings, video etc. (in
some cases) are taken into account. A number of new ways of notation have the purpose of
inspiring musicians, leaving decisions to be made independently. But they too depend on the
pre-existing idea of notation. - To understand the full perspective involved in musical
communication, one has to recognize that both written functionality and an oral one (in the
expanded sense) are involved.

(e2)/ Anderson, Virginia: Well, It's a Vertebrate : Performer Choice in Cardew's Treatise',
Journal of Musicological Research, 25: 3, 291 317, 2006. DOI: 10.1080/01411890600840578
http://dx.doi.org/10.1080/01411890600840578

The relation between Cardew's work as an assistant for Stockhausen and his own ideas for
Treatise are examined here, on the basis of Cardew's own accounts of this. Treatise was, at
least partially, born out of a reaction against the strictness of Stockhausens' Plus-Minus, felt by
Cardew and some fellow players. Also receiving detailed examination are the performances of
the work during Cardew's lifetime, using Treatise Handbook [see under e2 in the 1945-2000
section] which has a detailed list, but also original material from author's own contacts with
involved persons. Various additional info is given - for instance that Treatise Handbook was
written in response to a plea from the publishers (although no source for this is referred) - and
that the compositions included in Treatise Handbook are realisations of pieces from Treatise.
Also receiving detailed attention is the process which lead Cardew to abandon any
explanations, away from his original intention to provide a set of symbols with comments.

(e2)/ Jahn, Hans-Peter: "Zur Qualitt des Gedchtnisverlusts. Fesseln der Notation",
MusikTexte 109, Mai, 2006.

One of the papers from the Notation Congress Berlin December 2005. The author makes the
statement that playing from traditional notation presupposes loss of memory. This action sets
the musician free to give shape to the music. Also many small free spaces appear, from one
note to the next, creating "paradises of freedom". This is contrasted with the situation of
improvising and its "sloppy regulations" (p.21). That which is notated is compared to a crash
barrier on a motorway, whereas the music consists of all that which is not notated. This is
contrasted to the situation of improvisation: "In improvisation there are no such crash barriers.
There are only agreements and random happy moments of a musical logic, as well as the
randomness of collectively composed cogency", p.21.

This is an interesting contribution to comparatively discussing characteristics of improvisation

and composition, because the author sets forth a coherent view of what is the interpreter's co-
creating role when playing from traditional notation. At the same time, there is analysis enough
of elements of improvisation to yield substance to his discussion. An additional delight is the
extraordinarily brilliant rhetorics.

One possible critical question to this article could be concerned with how small the free spaces
have to be according to the author in order to be interesting? When do they cease to be
"paradises" and instead become "sloppy"? This question seems important because so many
experimental notations devise free spaces of many sizes, often bigger than traditional note-to-
note ones while still maintaning something seemingly comparable to the "crash barrier"
mentioned in the article - you may for instance think of Earle Brown, as well as of many others.

(e2)/ Lock, Graham: "What I Call a Sound": Anthony Braxton's Synaesthetic Ideal and Notations
for Improvisers, in: Critical Studies in Improvisation (www.criticalimprov.com) vol.4, 2008.
Unfortunately, none of Anthony Braxtons' compositions are still not published in writing, even
though a large text (Heffley (1996;C2) comments them extensively, however without going very
much into the notation. Through this text one can gain a little more insight into various signs he
employs, which in many cases differ widely from one work to another.

(e2)/ Lukoszevieze, Anton: "Die Welt als Musik durchwandern. Der US-amerikanische
Komponist Philip Corner", MusikTexte 99, Dezember, 2003.
Comments on graphic and verbal music works with several examples. P.C. got additional
inspiration for his work with graphic notations during a stay in Korea.

(e2)/ Mller, Torsten: "Im Zeichen der Konsolidierung. Der Berliner Notationskongress 2005 -
Notation zwischen Norm und Excess", MusikTExte 108, p.80,, 2006.

The author reports from a notation congress having a narrow focus centered on traditional
notation and analyzes how this perspective might be widened out.

(e2)/ Mller, Torsten - Shim, Kunsu - Stbler, Gerhard: SoundVisions, Saarbrcken (Pfau)
2005.

An inspiration for this book was the very classic book Notations, compiled by John Cage (a2.2
1969). And in one of several introductory articles preceding this collection of notation samples,
Paul Attivello deplores that new notations of the Darmstadt generations were put aside by more
conservative notation trends. Composers like Sylvano Bussotti, Aldo Clementi, Franco
Evangelisti, Roman Haubenstock-Ramati, Mauricio Kagel, Anestis Logothetis and Dieter
Schnebel deserved more attention according to this author. But despite these statements, this
book contains mostly music notated in the standard way, sometimes with sketches being more
interesting than final results when seen from a visual aesthetic point of view. Some exceptions,
besides realisation scores from electronic music, are instances of innovative notations by Anton
Lukoszevieze born 1956 (free graphic notation), Alwynne Pritchard born 1968 (mobile), Yuji
Takahashi born 1938 (free graphic notation), as well as use of optical notation by Vykintas
Baltakas born 1972, Aldo Clementi born 1927 and a complete sound poem by Josef Anton
Riedl born 1927.
There is no accounting for the criteria of selection of composers. As a catalogue of
contemporary music quite generally this book could serve as a reference work or as a work for
browsing through, with its inclusion of 153 living composers and biographical notes of each one.
All editorial texts are in both English and German, and texts accompanying the composition
samples are in English. But the reader seeking information about innovative notations is likely to
be disappointed. See Sauer (2009;(E1)) for a very different collection!

(e2)/ Steinbeck, Paul: The Art Ensemble of Chicagos Get in Line: Politics, Theatre, and Play.
Twentieth-century music 10/1, Cambridge University Press, 2013
Amidst other analytical matters outside the scope of this bibliography, glimpses are revealed
of some notation details p.10ff. They consist simply of a triangle as a symbol of "improvisation"
and very short descriptions of theatrical action - and lines between them describing what is
supposed to lead to what.

(e2)/ Srensen, Sren Mller: "Partituret lyver". Interview med Juliana Hodkinson. Autograf vol.
9/2, april 2000.
Interview with composer Juliana Hodkinson who makes performance practise an issue of
experimentation in her compositions. This may lead to abandoning traditional forms of
composers' control, such as conduction or a metrically defined tempo. She states her interest in
the playing process in its own right despite seeming "imperfections" compared to the score. She
also states a comparison with Japanese writing and spoken language in order to make clear
how written/spoken forms do not simply mirror each other.

e2/ Trescher, Margret: "Cornelius Cardews "Treatise" und die Gruppe AMM", MusikTexte 86/87,
November, 2000. Please see the 1945-1999 bibliography in which this item has been listed as a
special exception.

(e2)/ Wilson, Peter Niklas: "Die weisse Leinwand. Notitzen zum Verhltnis von Bildender Kunst
und improvisierte Musik" in: MusikTexte 100, Februar, 2004.

Deals among other things with action painting, giving inspiration to improvisors Phil Minton and
Keith Rowe and with graphc scores, dealing with Cardew: Treatise as a prime example

(e2)/ Woolman, Mat: Sonic Graphics. Seeing sound, London (Thames and Hudson) 2000.

Deals with several kinds of visual design related to sound, among others CD covers. Music
notation is touched upon in one chapter, quoting Paolo Motta and text compositions (with
layout) by Stephen Montague (probably previously unpublished pieces in both cases).

F. COLLECTIONS OF EXERCISES, WRITINGS AND MUSIC WORKS FOR EDUCATIONAL

USE

F1.1 COLLECTIONS OF EXERCISES AND RELATED WRITINGS

(f1.1)/ See also: Bergstroem-Nielsen (2007;G3)

(f1.1)/ See also: Rdiger et al (2004;F2)

(f.1.1)/ See also: Christensen (2010;F2)

(f.1.1)/ See also: ringgesprch (2002;G2.1)

(f.1.1)/ See also: Rieger (2011;G2.1)

see also: Adrian (F2; 2012)

(f1.1)/ Agrell, Jeffrey: Improvisation Games for Classical Musicians. 500+ non jazz games for
performers, educators and everyone else, Chicago (GIA Publications) 2008.

The notion of game within improvised music has established itself during recent decades. Also
often called "exercises" or maybe "pieces", the genre in question here concerns propositions of
ideas/guidelines/rules for getting started, or for advanced explorations of possibilities. This
collection was explicitly made for classical musicians, and tempo, meter, scales, motivic
development and ABA as well as other classic form schemes are frequently referred to,
however along with other dimensions of timbre, dynamics and polyphonic texture, for instance.
Improvisation being perhaps more common in experimental than in classical music (except with
organists), this book seems to fill a large gap. And if "classical" musicians became more
interested in improvisation, perhaps the gap between "classical" and "experimental" would
shrink or become more bridged.
The book is a creative explosion coming from an author who played the French Horn in a
symphony orchestra for a quarter century without ever improvising on it. But in his second
career as a horn professor at the University of Iowa, he turned to exploring how to use the
instrument in improvisation.

The collection is very extensive as the number of games, 500+, mentioned in the subtitle
already suggests. And so is the build up of different chapters and sections.

Even the introduction is multi layered. After the starting section, "why improvise", a number of
sections follow with advice to specified target groups. Then come ideas on principles and
elements of training.

The main part of the book starts out with general reflections and advice relating to the games.
Then comes chapters with "Quick start improvisation game favourites" with sections devoted to
solo or different numbers of players. Next two hundred pages describe twenty four additional
categories of games. Each category comes with a small informative introduction, and they are in
total: warm up games, rhythm games, accent games, dynamics games, melody games, form
games, harmony games, bass line games, aural games, nontraditional score games,
conducting games, energy/mood games, texture games, timbre games, composition games,
depiction games, technique games, accompaniment games, style games, text games,
storytelling games, miscellaneous games, improv set ups and extended combination games.

To round up, there is a third part with "Ressources", providing various lists of musical materials
and dimensions, a section on composition for improvisors, and more. And yes, the games are
then indexed, not just in one list in alphabetical order, but in various ways by chapter and
number of players four indices in all.

As mentioned, the main focus of this collection is "classical", but experimentally oriented
improvisors and composers may pick up a lot of good ideas too. The same goes for jazz players
who will have less immediate reservation to block forms etc. Whether classical or nor, music
has many dimensions, and such things as nontraditional scores, texture, timbre and more is
also dealt with here. In this context could also be mentioned a category like "depiction games"
which does not designate directly which musical elements to use.

In my own experimental improvisation context, traditionally sounding material may also occur,
be it in an encounter with different musicians or resulting from collective invention. Agrell's
suggestions could inspire me to reach beyond stereotypes here. For instance, he mentions
several times the "Oom Pah" march character which so often will turn up working with beginners
and occasionally also later on and gives ideas how to sophisticate it and go beyond this clich.

"Conducting games" encourages people's own creative use of conducted improvisation which
looks like a healthy thing. This phenomenon became known from the pioneers Butch Morris and
Walter Thompson (reference is made to the latter in this book), and use of their specific systems
is not the only possible way to practise conduction.

Here are some samples:

OOM PAH MARCH

Two players. One player plays an oom pah rhythm on steps one and five on beats one and
three of a measure in cut time. Player Two improvises a march over this accompaniment. Try
different kinds of marches: slow, fast, quirky, and/or minor.

Give the oom pah more interesting rhythms, such as the 3 + 3 + 2 clave or other Latin rhythms.
Have the bass descend on scale steps 1 7 6 5 (in C: C B A G).

DOODLE MUSIC

Two to four players. Player One makes flamboyant doodles on a piece of paper, then Player
Two adds to the drawing. Take one minute or less in total. Next both play the piece, giving it an
evocative title such as "The Mysterious Life of a Humpback Whale" or "My New Shoes Are Too
Small."

Repeat with three players, using "Revenge of the Bacteria" as the title.

Repeat with four players, using "Cobras, Pythons, and Me" as the title.

Repeat all with new titles.

This is hardly a book one can "read through", rather a pool of ideas to return to for inspiration
again and again. A weighty contribution to the field of "improvisation exercise collections"
(category F1.1 in this bibliographic system), a tour de force as to systematic mapping of a
universe of games, and a must-have for so many libraries at music departments at colleges,
universitites etc.

(f1.1/) Agrell, Jeffrey: Improv Games for One Player. A very concise collection of musical games
for one classical musician. Chicago (GIA Publications), 2010.
This little book consists partly of a selection of exercises/games from Agrell (f1.1;2008), partly
of new ones. Whereas the other one is very comprehensive and has extensive indexing
facilities and advice sections, this was made deliberately of a small size in order to "fit
comfortably into the average musician's instrument case", according to the introduction.

(f1.1/) Agrell, Jeffrey: Improv Duets for Classical Musicians. A Concise Collection of Musical
Games for Two Players. Chicago (GIA Publications), 2010.
Exercises, using Agrell (F1.1; 2008), but also new ones.

(f1.1/) Agrell, Jeffrey and Strohschein, Aura: Creative Pedagogy for Piano Teachers. Using
Musical Games and Aural Pedagogy Techniques as a Dynamic Supplement for Teaching
Piano. Chicago (GIA Publications), 2013A.
Exercises, using Agrell (F1.1; 2008), but also new ones.

(f1.1/) Agrell, Jeffrey: Improvised Chamber Music. Spontaneous Chamber Music Games for
Four (or Three or Five) Players. Chicago (GIA Publications), 2013B.
Exercises, using Agrell (F1.1; 2008), but also new ones.

(f1.1)/ Auslnder, Peter: Experimentelles Musik- und Tanztheater in der schulmusikalischen

Praxis und in der kulturellen Jugendarbeit, Landesarbeitsgemeinschaft Spiel und Theater NRW
e.V, Vlotho 1997.
Includes a printing of the open composition PLAY III by Johannes Fritsch.

f1.1/ Bergstrm-Nielsen, Carl: Intuitive Music - a Mini-Handbook. New online edition 2009ff
here.

Handbook for people who wish to play or teach freely improvised music and improvisation
pieces. With sections on how to start with different types of groups, training of musical
awareness, parameters of the musical sound, the history of improvised music and a
bibliography.

(f1.1)/ Hansen, Niels Chr.: Different Approaches to an Improvisational Practise based on the
Piano Music of Toru Takemitsu". JMM, Journal of Music and Meaning vol.6, 2008,
http://www.musicandmeaning.net/ With audio samples.

Author's abstract:
This project aims at establishing an improvisational practice for pianists based on the piano
music of the Japanese composer Toru Takemitsu.
Through musical analysis of Takemitsus music we seek to point at different compositional
practices that can be converted into concrete, pedagogical exercises to be used for teaching in
improvisation. Some of the improvisational guidelines are then combined into a complete piece
of music, which is subsequently evaluated and used as a basis for a discussion of the further
perspectives of the project.
The practical experience so far suggests that this method can be used for:
* encouraging an improvisational approach to interpreting music,
* countering the fear of improvisation among the performers of classical music,
* strengthening the understanding of contemporary music,
* disseminating the knowledge of traditional Japanese music
and last but not least the project implies the possibilities of creating an artistic musical
product in itself.

(f1.1)/ Hall, Tom: Free Improvisation. A practical guide. Boston (Bee Boy Press, 2009. ISBN
978-0-615-38862-1. www.freeimprovisation.com .

Some improvisors make soundscapes with many ever changing details, others use pulse and
ostinatos. This collection of 124 exercises wanders between both approaches - roughly every
other section makes a shift. Thus, the first one, "Beginning Exercises" starts out with sounds on
a pulse and variations of this - a bit later some exercises also abandon the pulse, then we return
to building up grooves from individual ostinatos. But "mirroring" and "ending" exercises which
follow apply to any kind of improvisation. Next section features "Duets. The Art of Relationship"
which is entirely about the players' free choices of music sounds, focusing awareness in
different so as to make choices more conscious. Next section again is "Advanced Groove
Exercises", etc. With its slight priority given to the pulse and groove-approach, the book could
be compared to Stevens (f1.1; 1985), but is far more comprehensive. However, there are plenty
of ideas for the other approach as well throughout. In such a pluralistic encompassing of the two
approaches, there is both conflict potential and integrative potential. Perhaps the following
statement takes account of this ("Tip", p. 31): "If you want to improvise in any other manner
besides stream of consciousness, it is essential to be aware of the choices being made. Without
a group awareness of these choices it's difficult to develop them, improvise with them, or refer
back to them...".

The author has a strong sense of what musicians' awareness and focusing can do. Thus, for
one example, the "Ending" exercises already mentioned work with uncovering "potential
endings", the simplest form being to focus on that and stopping at the first one. Additional
variants ("steps") involve several "endings" within one piece (must be general pauses...) and
more choices. Also, the relationship aspects is the theme of many good proposals (other words
for this could be group-dynamic or social aspects). "Duets. The Art of Relationship" were
mentioned above. "Groups within the Group" is another essential aspect of free improvisation
that deserves attention and certainly gets it in the eight exercises under this heading. They
suggest, among other things, that smaller groups or solos simply occur during the improvisation
without fixing when it will be.

The view of possible musical material in the book is a broad one taken in a pluralist sense, as
suggested earlier when discussing the two different approaches to improvisation. It is good to
have mention of such dimensions as "Creating Space - Playing Silence" and "Musical
Parameters", but these are short and could invite so many further ideas. Likewise, a chapter of
seven pages deals with "Textures", from the point of view of handling and repeating them, not
with how actually to invent them. How to magine and combine individual sounds into textures,
how to use instruments in interesting ways, etc. could be a theme of further explorations.

This work is nevertheless the exercise collection coming closest to my own one, Bergstroem-
Nielsen ((f1.1); 2009ff) in its design and scope till now. It describes probably the differences
between us that I would have put his Chapter Twelve, "Tasting Shapes", at the very beginning.
This is about stimulating the playing fantasy by, among other, visual and verbnal means.
Regardless, this book can be very useful to a wide field of improvisors and educational
contexts.

To give a more detailed impression of the subject matters, here is a list of the chapters' titles -
after some introductory texts aiming at encouraging beginners and at characterising the free
playing way - : Beginning Exercises - Duets: The Art of Relationship - Advanced Groove
Exercises - Textures - Creating Space - Playing Silence - Groups Within the Group - Melody
and Accompaniment - Musical Parameters - Tasting Shapes - Combining Exercises - Warm-ups
- Solo Exercises. An index of exercises can be found at the end.

(f1.1)/ Lewis, George: "Teaching improvised music: an ethnographic memoir" in Zorn, John
(ed.): Musicians on music. New York (Granary Books/Hips Road), 2000. ISBN 1-887123-27-x
This article reveals details about George Lewis' pioneering work with introducing improvisation
courses in higher education as a professor since 1991 at UCSD (University of California San
Diego). Descriptions of this are preceeded by a discussion about the use of fixed licks in jazz
contra more process-oriented approaches. Also by accounting for his own background
experiences, among other places in AACM. A community-based pedagogical nurturing of
beginners was characteristic. So was also "pre-concert meetings" during which the concert
programme was discussed and decided upon by the collective.
Dealing with the founding of a new academic field of study around improvisation, details and
names are mentioned. A wide selection of "post-colonial" and "post-modern" areas of interest,
including feminist musicology and queer theory. Names of collaborators include Professor Jann
Pasler, ethonomusicologist Margaret Dilly, European music historician Jane Stevens (x). Also
European authors writing about music were seen as relevent, including Globokar, Prvost,
Peter Niklas Wilson, Fr. Rzewski, Wolfram Knauer, Ekkehard Jost. finally, a short list of other
institutions that also incorporated experimental improvised music into their programmes is
given: California Institute of the Arts (among others Wadada Leo Smith), University of California
at Irvine (James Newton), Mills College (Chris Brown, Glenn Spearman). Since the normal
atmosphere in music training was one of competition, improvisation demanding personal
involvement rather than dealing with comparable skills could feel new and confusing to
students.
"Music 133" was a mandatory undergraduate course held 1995-96. Students were to develop
their own creative practise, both solo and in ensembles. Listening to recorded examples was
important - a large list of both American and European improvisors is stated. Also the study of
first-hand accounts in text form by improvisors was considered essential. For a "midterm
examination", a tape with a solo, accompanied by a written comment was required. Some
students received the distinction of being on a concert programme. The final examination
implied playing as a member of two ensembles - and, not least, writing a "process journal" the
judging criteria of which was "throughness of engagement". Over three pages, the author
quotes from such journals and comments on them - topics may concern both methodological /
musical issues related to practising and its developmental work as well as to challenges related
to appear as a performer and those stemming from negative attitudes on the side of fellow
students. This is interesting reading for teachers of free improvisation. He concludes with
considering possible basic structural problems in this teaching and by emphasising the
importance of musicians reflecting on and documenting their work in text form.

(x) In his keynote lecture at vs. Interpretation Festival Prague, July 17 2014, Dana Reason and
one more person was mentioned as those who founded the discipline of Critical Studies, as well
as the year 1990.

(f1.1)/ Oshinsky, James: Return to Child. Music for People's Guide to Improvising Music and
Authentic Leadership. Philosophy, Games, and Techniques developed by 'David Darling,
Bonnie Insull, and Participants in Music for People workshops. http://www.musicforpeople.org
2008 edition. Sold at the website (pdf and paper editions available).
Usually, exercise collections deal with the music material, the "how to use it" aspect and how
to act musically within the group. This one, however, has a few concepts like those of the
extremes of "Yea" (strong) and "Ooh" (soft) sound and some more, also advice on practising
traditional material. But else, it lingers on describing an egalitarian view of playing (which may
serve as a preparation for participants) and on providing advice for workshop leaders. Both
could be useful as a supplement to other exercise programs.

(f1.1)/ Stenger-Stein, Gabriele: "Spontaneitt und Wachsamkeit. Improvisation - als Weg und
als Ziel? Improvisation im Instrumentalunterricht, i Ringgesprch ber Gruppenimprovisation,
Mrz, 2000.

A large collection of exercises included.

(f1.1)/ Schwabe, Matthias: "Einfhrung in musikalische Improvisation. Spielregeln in

Kurzfassung", Ringgesprch ber Gruppenimprovisation LXXIV, april 2011, p. 49-54.
& nbsp; The author presents a collection of favourite improvisation exercises. They have their
origin partly with the author, partly with Lilli Friedemann. Some draw on Schwabe (F1.1;1992),
others are also by the author and were not published before. Exercises are grouped into the
following categories: communication games - experimental games with sounds and noises -
metrical-rhythmical games - melody playing.

F 1.2 LILLI FRIEDEMANN

(f1.2)/ Schwabe, Matthias: "Lilli Friedemanns Wege zur experimentellen Improvisation",

Ringgesprch ber Gruppenimprovisation LXXIV, april 2011, p. 10-13.
& nbsp; Introduces Lilli Friedemann's quite different collections of exercises. Quotes a few
selected ones which have proved especially important to the outhor's long-standing activities as
a workshop leader and comments on their usefulness, together with some general remarks.

F2 MISCELLANEOUS WRITINGS
(f2)/See also: Borgo (2005;G1.1)

(f2)/ See also Funk-Aydemir (2006;G3)

(f2)/ See also: Gagel (2010;G4).

(f2) /Adrian, Signe og Jensen, Jesper Juellund: "Spilleregler og musikalsk kreativitet".

Musikbladet for gymnasie- og HF-lrere (Gymnasieskolernes Musiklrerforening), December
2012, p. 26-34. ISSN 1604-049x
A short, but comprehensive, systematic presentation of possible categories of "playing rules".
This is taken in a broad sense and includes traditional formal/compositional devices as well as
much more, such as various dimensions of context and the way the rules are given. This could
be, for instance, general directions for the process ("kill your darlings") or considering the
difference between exact directions and describing of general goals. Strictness or looseness
exemplifies further, also reflections on the context of the production process, as well as the
(imagined) circumstances of performing.

(f2)/ Baumann, Christoph; Mder, Urban; Meyer, Thomas: "Freie Improvisation: Mglichkeiten
und Grenzen ihrer Vermittlung. Skizzen zu einem Forschungsprojekt an der Hochschule fr
angewandte Wissenschaften und Knste, Musikhochschule/Jazz-Abteilung, Luzern",
Ringgesprch ber Gruppenimprovisation LXXIV, april 2011, p. 60-62.
& nbsp; Informs concisely about improvisation teaching at Hochschule Luzern for all students,
curriculum, goals, and discusses questions arising.

(f2)/ Christensen, Mogens: "...Sed vitae. Om at s en tanke - i stedet for altid at omplante
viden". (Dansk Sang, Folkeskolens Musiklrerforening), 2010.

Theoretical perspectives, advice and suggestions around creative music making with school
children. Many thinkers and concepts receive mention - among them Luhmann, Scharmer,
emergence and serendipity in a theoretical introduction. Especially Part 3 and 4 + 5 contain
specified examples of where to start musically. These parts also bring forward general basics of
composition to consider - such as analysing into parameters, balancing culmination/low points
in various parameters and various approaches to development and form. With this gentle
throwing into perspective of central musical matters, the book could yield relevant texts for both
the disciplines of musical analysis and concerning composition of new music in general.

(f2)/ Frith, Fred: "Teaching improvisation. Not teaching improvisation.What does an

improvisation teacher do?", Ringgesprch ber Gruppenimprovisation LXXIV, april 2011, p. 21-
28.
& nbsp; Surprisingly to me, this article features a model of improvisation teaching hvaing its
background at the authors' activity at Mills College, California, which is seemingly based on
strictly disciplined exercises: rounds, groups with elected "directors" and "restriction exercises",
with no mention of how free forms of playing could be employed. - And at the same time, thre
are observations and anecdotes showing much sensitivity to, and experience with, the
improvised process. They deal with basic questions students may ask, with the practise of
leaving activity open to students, with classical musicians' inhibitions towards improvising
stemming from the way they have bene trained, with warning against the belief that improvised
music is superior to everything else, and with reflections on similarities between improvising and
conservation. He makes the following characterisation of the values of a good improvisor (p.26):
"The values that are associated with a good improvisor aren't dissimilar to the ones you look for
in your friends: being a good listener; sensitivity to your social surroundings; being there when
you're needed but knowing how to step back too; knowing when to be supportive, when to be
assertive, when your opinion is valuable, when to just go along with something, when to insist!
Patience. Tolerance. Openness..."

(f2)/ Heyne, Hannes: "Lebenslang Improvisieren lernen", Ringgesprch ber

Gruppenimprovisation LXXIV, april 2011, p. 14-17.
& nbsp; Various general considerations about didactics in teaching in schools. Interesting
counterpart to Steiner (F2;2011) in its optimism about the feasibility to deal with improvisation
on any age level. As an example, young people's appetite on adventure is mentioned, and there
is the practical suggestion to take inspiration from initiation rituals and perform outdoor actions,
and to work with self-made instruments.

(f2)/ Rdiger, Wolfgang; Gagel, Reinhard (ed.): Ensembleleitung neue Kammermusik.

Dokumentation und Arbeitshilfe des Modellprojekts, Bonn (VdM Verlag - www.musikschulen.de)
2004.

This book accounts for a "model project" undertaken by VdM - Association of German Music
Schools - having the aim to set up a new in-service training programme. The course took place
during 4 short periods during the span of one and a half year and ended with an examination
featuring several kinds of presentations.

During the first period, open works which were graphically and verbally notated and written for
variable instrumentation were presented to participants and worked with in practise. At the
second, a multitude of projects which participants had carried through at their own schools were
presented, taking inspiration from the open works presented, but working out further their own
ideas. Then, at the third period, activity turned to a practical study of concert works by new
music composers, so as to take inspiration from the variety within experimental music in
general.

An important section of the book features presentations by 13 participants - written versions of

those given at the course, many of them with excellent ideas and detailed accounts of
methodical work.

In addition, the book contains lists of relevant open works for educational use - recent ones,
composed after 1990 - both for specific instruments and for open ensemble. They come with
annotations making it possible to judge whether they might fit into specific needs and with
contact information about composers and publishers. Various documenation of information
material, press articles and short biographies and contact information of contributors make up
the last part of the book.

This is an inspiring account of what can be done through training of dedicated professionals,
along with being a useful book for practioners by virtue of the good ideas and proposals as well
as the bibliographical lists of playing material. For those engaged in improvisation and creative
cooperation in performance of music in general, it can be especially delightful to experience a
new music context taking this dimension as the real basis and working on it in depth while at the
same time also taking inspiration from detailed studies of the important cultural context of new
music. It avoids the pitfalls of accepting the dogmas of metric note-writing as the only notation
and of the isolated composer - which might entail a bias towards a passive listeners' role since
this could limit practical playing a lot.

An interesting detail to mention could be the long list of characteristics of "New music in its
improvised and compositional variety" that came out of common discussions during the second
period (p.13). It could be a possible source of inspiration for cultural and educational strategies.
The beginning reads:

"- associates to basic human experience and makes people sensitive for them. It makes them
conscious and structures them into an artistic form; because of this, it can also be perceived as
fascinating within everyday life.

- takes up basic body expression with which every human comminicates since being born:
breathing, voice, gesture, body movement etc..." (...)"

Contributors other than the editors were: Geisenberger, Beate; Guntermann, Fred; Grmmer,
Ulla; Hinz, Sylvia; Krauss, Hans; Jones, Ivan; Laubenberger, Jutta; Loof, Birgit; Nessling, Lisa;
Karstens, Thomas; Schmoeckel, Stefanie; Schreiber, Gudula; Schelski; Uhl, Stephan.

(f2)/ Schlicht, Ursel: "I feel my true colors began to show. Designing and teaching a course on
improvisation", Critical Studies in Improvisation / tudes critiques en improvisation, Vol 3 (2),
www.criticalimprov.com, 2008.
A good, detailed improvisation teacher's account of fundamental considerations, contents and
outcome for the participants from courses at a contemporary arts' college, Ramona College in
New Jersey, over 14 times 3 1/4 hours.

(f2)/ Steiner, Johannes: "Improvisieren in der Schule", Ringgesprch ber

Gruppenimprovisation LXXIV, april 2011, p. 41-43.
The author proposes a didactic approach to teaching improvisation to young people in schools
(an age level of 12 years -sixth class - is mentioned in one case). It is based on indirectness, on
inventing language and methods approaching improvisation indirectly. For instance, the word
"improvisation" is substituted by "inventing music", "construct melodies" etc. and on using
clearly defined elements and rules for their use. This is because of the resistence one may
encounter with too direct approaches.

F3 MUSIC WORKS FOR EDUCATIONAL USE, COLLECTIONS OF SUCH WORKS AND

SERIES

(f3)/ Nomura, Makoto; Nankivell, Hugh: Whaletone Opera. A 21st Century Musical Journey.
With texts in both English and Japanese and 3 CDs documenting one of the performances,
Ogawara (Japan) (Ezuko Hall - www. ezuko.com) 2007.
A large-scale work which was created with participants of varying ages. Both simple songs and
recipes of improvised soundmaking following the drama appear. "Whaletone scale" is a variant
of the wholetone one.
This book serves both as documentation of the performances and as a score for possible
future performances initiated by readers. Instructions are, however, often of a sketchy kind, but
there is enough flexibility to change them according to own ideas. Also, one can imagine the
use of the book as inspiration for the readers' own projects, whether small or big.

G. WRITINGS ON IMPROVISED MUSIC

G1.1 GENERAL SURVEYS AND

GENERAL HISTORY

See also: Lothwesen (2012; G1.2)

(g1.1)/ Beck, Sabine: "Prinzipiell vielseitig. Vinko Globokar, "New Phonic Art" und die
Improvisation der sechziger und siebziger Jahre", MusikTexte 115, November, 2007.
This article is a comparative study describing bvery clearly the different characteristics and
ways of working of New Phonic Art, Nuova Consonanza, Musica Elettronica viva, AMM Music,
Music Improvisation Company and the Scratch Orchestra - all well-known improvisation groups
of the sixties and seventies.

(G1.1)/ Bergmark, Johannes: "What is improvisation and why improvise". Downloaded 16. June
2010 from www.bergmark.org/why.html

Considerations around how improvisation is viewed by musicians. Proposes that both totally
predetemrinistic and the counterpart, totally indeterminate views are meaningsless. The
essence of improvisation is not just pure intuition or accept of chance, nor is it the blind
following of a psychic condition. In order to approach a better understanding of improvisation,
one must consider the fact that both conscious decisions and intuitive elements are part of it.
The author also deals with the issue of ideology connected to free improvisation and states,
among other things, that "there are people that think that the term "free improvisation" gives the
impression that we proclaim ourselves as liberated... Unfortunately, this is considerably
exaggerated..."

(g1.1)/ Borgo, David: Sync or Swarm. NY/London (Continuum), 2005. May be purchased with or
without a CD.

This book sets out to explore the area within contemporary sciences dealing with chaos
phenomena, focusing on their possible usefulness for describing improvised music in its
complexity.

It also makes a most useful music history summary related to improvised music and, in addition,
features various documentation related to Evan Parker.

Written in what seems to be an informal style of popular science writing, one has to probe a little
into the chapters to find out what they are all about, even if the author is indeed an assistant
professor working at the Critical Studies and Experimental Practises program at University of
California, San Diego (UCSD) and the discussions in the book also take place in close
interaction with literature which is documented carefully in the notes and in the large
bibliography.

Thus, after initial introductions, we find that the second chapter titled with the poetic
circumscription Reverence for Uncertainty deals with the history of improvised music and
discusses some issues of essential interest: the views of performers, of listeners, and issues
related to recording and to criticism.

These 22 pages seem to be one of the best introductions written so far to this field of music for
students and other interested readers. Starting-point is jazz and how its improvisation aspect
has been both restricted and re-activated during history. The author moves on to mentioning
developments of composed music since Schoenberg, extending into Cages indeterminacy and
Stockhausens intuitive music. Summarizing this, the author states this information-packed
sentence: These and other modern compositional approaches do vary considerably in their
details and individual composers often express extremely different views on the importance and
validity of improvisation, but these new approaches did significantly expand the scope and
definition of compositon as a practise.

The author next plunges into an extensive discussion of the diverse existing views of improvised
music and its culture. One of the many comparisons made is between Evan Parker and Derek
Bailey, bringing up issues which concern how much the music should assert an individual style
and the cultural context with which the improviser identifies himself and how much an
aesthetic exploration in its own terms. Just one reason why I find this discussion illuminating is
because the challenge posed by afrologists like George Lewis (please see Lewis (1996; G3) in
the 1945-1999 bibliography.) is taken a step further for general considerations not just for or
against Lewis views but in the direction of possible re-thinking of cultural identities generally.

The subsection Experiencing Uncertainty deals with listening to improvised music. Reference
is made to several views stressing the importance of shared knowledge between performers
and audience that the music is created here and now. Other views concern the absence of form
references and the creative role of the listener following from that, the description of different
basic kinds of listening, the importance of listening with a non-traditional focus (which could be
textures or the changing appearances of figure/ground/field), and discussions around the
terminology with which to describe the multi-cultural, pluralist interaction aspect. This last topic
is an important one but might perhaps better have appeared under general attitudes to
improvised music, not being specific to listening.

Next subsection Documenting Uncertainty deals with recording practise. The reservations
made by many improvisers are mentioned, and contrasted to Martin Davidsons view (director of
English Emanem Records) that improvisation (probably because not being repeatable)
deserves and needs it more than composed music. Mention is further made on different
attitudes among improvisers on editing and adding recorded material. And of the practical
advantages of recording keeping up a tradition, getting to know each other and making
understanding easier because it allows for repeated listening. Improvised music may be seen
as a post-literate, oral tradition. Missing copyright and royalties recognition is mentioned here
as an example of how improvised music is still not recognized by the common cultural norms.

At the end of these 22 pages on improvised music (Reverence for Uncertainty with
subsections), its general development and some main areas of discussion specific to it, we find
a final subsection on written improvised music criticism, Evaluating Uncertainty. Ensemble
rapport and general formal properties of the music may appear as criteria employed. Mention is
also made of Couldrys concepts of virtuosity specific to improvised music (please see Couldry
(1995; G1.1) in the 1945-1999 bibliography) and of extended techniques as something that can
commented by critics.

The chapter The embodied mind deals with notions of mind and body as an interrelated entity
rather than a cognitivistic view of the mind being in charge and commanding the body to act.
Quotations about Evan Parkers solo playing by Parker himself and others are taken in to
extensively illustrate this point (and there is a short bio of Parker as well).

Chapter Rivers of consciousness presents the thesis that improvised music has till now failed
to arise academic attention comparable to that of composed music partly because of lack of
technological tools, but more importantly, because of its non-linear character. The field of
dynamic systems theory in mathematics is mentioned and a trio with Sam Rivers is analyzed.
In a conclusion, the role of momentum (staying where you are) and inertia (letting yourself be
moved) in playing and their balance is discussed.
Rolf Bader is a German specialist in computer analysis of music. He is not named a co-author
of the book, but his contributions form the main basis of chapter 5, On the Edge of Chaos. It
presents his analysis of improvised performances by Parker, Sam Rivers Trio, Peter Brtzman,
and Art Ensemble of Chicago. Measurements took place with intervals of 50 milliseconds, and
harmonic overtone components, inharmonic frequencies being part of the sound, along with
any large amplitude modulations (including those caused by pause occurrences, at end of
phrases and elsewhere). The resulting graphic diagrams depict variations in complexity as
defined beforehand. This is what the authors label fractal correlation although the fractal
dimension of this is perhaps more to be found in some metaphorical layer than in the actual
analysis.

This chapter also has an illuminating quote from an unpublished lecture by George Lewis from
2003, about the underlying sociological and historical reasons for jazz being more centred
around individual expression than the European avant-garde and Cage, which might well have
been placed in the music history chapter instead. It seems to explain the background of Lewis
manifesto-like critic (please see reference above) and it goes like this: After three hundred
years of the very real silence of violence and terror, rather than a freely chosen conceptual
silence of four minutes or so, one can well imagine the newly freed African-American slaves
developing a music in which each person is encouraged to speak, without conflict between
individual expression and collective consciousness. In contrast to this notion of improvisation as
a human birthright, a simple response to conditions, an embodied practice central to existence
and being in the world, Cage's Puritanical description of improvisation contrasted the image of a
heroic, mystically ego-driven Romantic improvisor, imprisoned by his own will, with the
detached, disengaged, purely ego-transcending artist who simply lets sounds be themselves.
(p.88).

The same chapter also relates an example of chaotic dynamics presenting a challenge even to
those accustomed to free improvisation a performance in which singer Sainko Namchylak
demonstrated against allegedly not being treated professionally by the organizers of the Guelph
Jazz Festival 2003. She expressed that verbally and was then singing with arms folded acress
her chest, looking from time to time at her watch, and repeating the same melody for half an
hour, while the two other musicians developed a duo in the more "normal" way. The organizers
interrupted the concert but after a "collective uproar" from the audience, the music was later
resumed. An interesting internet discussion afterwards revealed a true multitude of views on
this, some of which saw it as musically captivating.

The sixth chapter, "Sync and Swarm", tells of a "new science of sync" (=synchronization)
studied by "biologists, physicists, mathematicians, astronomers, engineers, sociologists and
artists". Swarm behaviour by fireflies, ants and bees reveal differentiated forms of swarm
behaviour without a leader. Improvised music follows similar patterns. Sync occurs here at start
and ending, as "transient sync" when coming together in conspicuous ways and as persistent
sync. Studies of "swarm intelligence" in ants have lead to improving telecommunications traffic
routing. One list of characteristics of swarm self organization cited (by Bonabeau, Thraulaz
and Dorigoo at a Santa Fe institute a physicist, a biologist and an engineer) reads as follows:
"1) forms of positive feedback, 2) forms of negative feedback, 3) a degree of randomness or
error, and finally 4) multiple interactions of multiple entities" (p.143). Computer simulation has
been employed as a research method. Statistics and analysis of the World Wide Web also
reveal structures of interrelations between its enormous numbers of pages.

The last chapter, "Harnessing Complexity" treats improvisation teaching and possible strategies
for empowering students. It also mentions Zorn's game pieces.

(g1.1)/ Fischer, Mikael: Some thoughts on a history of improvised music in Europe. In English
and japanese, 2007. Lecture held at Soundplay Festival 2007, Japan. A short concise overview
referring to Noglik and Wilson. English version:
http://homepage1.nifty.com/ERuKa/cmf/cmf2007_HistoryOfEuroImpro_e.html Japanese
version: http://homepage1.nifty.com/ERuKa/cmf/cmf2007_HistoryOfEuroImpro_j.html

(g1.1)/ Jenkins, Todd S.: An Encyclopedia of Jazz and Free Improvisation, Westport, Conn. /
London (Greenwood Press) 2004.

This work comprises 390 pages of biographical and other information related to free jazz and
improvised music. There are also introductory overviews and chapters and a bibliography.
The introductory chapter "The Path to Freedom" has a good, detailed account of new jazz
developments from the American perspective, extending into European free music, making it an
important writing on these parts of music history. Credit is also given to backgrounds in
experimental composition, although probably with a few misunderstandings of the role of Cage
who seems in practise to be rather unknown to the author - he states, for instance, that he used
"aleatoric (chance) procedures such as hand signals or cue cards" (p.xxxiv)

(g1.1)/ Melvin, Andrew: The Creative Symbiosis of Composer and Performer. [An examination
of collaborative practise in partially improvised works]. Brunel University, September 2010.
(Contact via CBN)
Characterises historical background, elaborating on a Stravinsky quote about the "post-
composer period". This was meant as an ironic comment by Stravinsky to openness in
compositions which passed decisions on to the performer. For the author, this label could
however be seen as meaningful in a larger perspective. Quoting an author named Handy, he
makes a parallel with working life which has now been based on "politics", not "engineering"
which built on a sort of mechanical model. The book also describes English composer Wiegold's
way of working with symphony orchestras, involving both frequent re-writing and empty spaces
in the score; also, it analyses own works.

(g1.1)/ Polaschegg, Nina: Verflechtungen. Zur Neubestimmung des Verhltnisses von

Komposition und Improvisation", MusikTexte 114, August, 2007.
In music history writing after 1950, two tendencies are usually attributed a paradigmatic role:
on one hand, serialism and its counterreaction, and on the other hand aleatoric techiques and
other strategies of opening up the work. "On one hand, these tendencies re-thought principal
possibilities of the musical work in a radical way and appeared therefore necessary and
revolutionary, but they have had no proper succession" (p.34). A view that sees them as the
only ones suppresses or marginalizes the fact that they were only a part of the total picture of
tendencies away from traditional concepts of music, musician and musical work. Improvisation
played animportant role here, and there has been a continuous development ever since it was
re-invented in the fifthies and sixties. For the first generation, improvisation was conceived of in
terms of being a new discovery - be it in contrast to composition or as an extension of
composition. The second generation views improvisation and composition as different aspects
of one and the same music. This may also be named the second improvisation renaissance, of
which improvising composers Richard Barrett, Wolfgang Mittlerer, Michael Maierhof, Karlheinz
Essl and Bernhard Lang can be mentioned as representatives.
Various collective-like groupings were formed by composers of the first generation. At the
same time, musicians from both new music and jazz genres strove towards re-inventing
improvisation. Thus, such re-invention took place simultaneously in two cultures.
In order to understand characteristics of the second renaissance, one should know about the
first one too, since the second generation took up ideas, models and strategies from the first
one.
The article provides descriptions of the first generations groups Nuova Consonanza, Musica
Elecctronica Viva and New Phonic Art which represented the 'new definition' of improvisation in
relation to the 'canonic' new music. AMM represents an attempt of such new definition beyond
both composed music and jazz. Cornelius Cardew appeared then as a special case, both
utilizing improvisation as a composer and acting as an improvisor. In this way he was standing
between two worlds and became an immediate forerunner of the second generation. His
"Treatise" received special, detailed commenting here. Also Earle Brown, Barry Guy, Alexander
von Schlippenbach, Anthony Braxton and Bob Ostertag have sections devoted to them.
There are also additional sections ("Er-improvisierte Komposition" and
"Kompositionen/Konzepte fr Improvisatoren" which discusses and details some ways in which
composition is now accepted among improvisors and how composition and improvisation have
been combined.

(g1.1)/ Polaschegg, Nina: "(Frei) improvisierte Musik in der Musikwissenschaft",

Dissonanz/Dissonance 113, 2011, p.22-31.

An evaluation of how free improvisation has been covered in German musicological literature,
including also comments on the state of free improvisation teaching in Germany, Austria and
Switzerland (Basel, Leipzig, Vienna, Linz, Bern and zrich is mentioned - Luzern could be
added). Comments are given within the categories of handbooks and encyclopedias,
psychology of music, sociology of music and music analysis, and also the difference between
disciplines of musicology and jazz research (German: Jazzforschung) are discussed.

A concluding section sums up - a number of useful studies have been undertaken, although
authors did not know about each other in many cases. Some key issues for further qualifying
the discussion are proposed: which concepts characterise the specific nature of improvisation?
How can one develop value standards? And is the concept of the work of art to be revised, if
relevant at all? How are historic processes of change within free improvised music to be
described?

(g1.1)/ Riikonen, Hannu T.: 1960 luku ja uusi tapa improvisoida. Nykymusiikin
improvisaatioliikkeen piiriss vallinneista improvisaatioksityksist. [1960's and a new way to
improvise Concepts about improvisation among the contemporary music' improvisation
movement]. Lisensiaatintutkimus. Turun yliopisto, Taiteiden tutkimuksen laitos, musiikkitiede,
huhtikuu 2000. Licentiate dissertation, Turku (Finland), 2000. Turku University Library. Please
see the 1945-1999 bibliography in which this item has been listed as a special exception.
Title of this licentiate paper means "1960 and a new way to improvise - Concepts about
improvisation among the contemporary music's improvisation movement".

(g1.1)/Toop, David: "Frames of Freedom. Improvisation, otherness and the limits of

sponteneity", in: Young, Rob (ed.): Undercurrents. The hidden wiring of modern music.
London/NY (Continuum) 2002, p.233-248.
The pre-history of the modern concept of free improvisation is explored here. The pursuit of
automatism by Andr Breton and a number of other authors including Japanese Muroyama
Tomoyoshi as well as Tristan Tzara, is onsidered. Further, representatives of glossolalia
(Antonin Artaud) and, attempting to draw a connection to the liberation of sound itselv, Partch,
Grainger, Varse, Messian and Cage, are mentioned. In more recent developments, mention
is made of Lennie Tristano and a number of contemporaries working in the fifthies, before Sun
Ra and other presentatives of free jazz and free improvisation of the sixties appeared on the
scene. G1.2 PERIODICALS, SPECIALIZED

g1.2/ Grnslst. Magasin fr samtida musik., 1995-2000. Please see the 1945-1999
bibliography in which this item has been listed.

g1.2/ Hurly Burly, 1997-2001. Please see the 1945-1999 bibliography in which this item has
been listed.

g1.2/ Rubberneck, 1985-2000. Please see the 1945-1999 bibliography in which this item has
been listed.

g1.3/ The Wire, 1982-. Please see the 1945-1999 bibliography in which this item has been
listed.

(g1.2)/ Arroyas, Frdrique; Heble, Ajay; Waterman, Ellen (ed.): Critical Studies in
Improvisation, www.criticalimprov.com, 2004-.
From the editorial of the first issue: "...a peer reviewed, interdisciplinary, open access
electronic journal. Ours is, as far as we know, the first journal to provide an academic forum for
a developing critical field that accents the social implications of improvisational musical
practices. Indeed, while improvisational music has historically been analyzed within the context
of various musical disciplines, what distinguishes the research we aim to profile in CSI/CI is
precisely its emphasis on musical improvisation as a site for the analysis of social practice...
The idea for Critical Studies in Improvisation/tudes critiques en improvisation comes in large
measure out of the research activities associated with the Guelph Jazz Festival colloquium...".
The editors signing this are associated with the University of Guelph, Canada. Articles appear
both in HTML and pdf.

(g1.2)/ www.onefinalnote.com. Jazz and improvised music webzine, 2000-2007.

Online American based magazine with "features" (articles) and a large number of CD reviews.
Contents are at the time of writing this (2008) still available at the URL, and there is a useful
"archive" function making all material available. An alternative location to find the material,
should it vanish one day, could be the search engine www.gigablast.com, searching un the URL
and using the "archive" function.

G2.1 DOCUMENTATION, REPORTS AND DISCUSSION CONCERNING SPECIFIC

IMPROVISORS, GROUPS, WORKS, EVENTS, TENDENCIES

(G2.1)/See also: Borgo (2005;G1.1) (Evan Parker); Lukoszevieze (2003;G2.1); Schwabe

(2001;G5); Saunders (2009; g5); Melvin (2010; G1.1)

(g2.1)/ Anderson, Christine: Review: "Torsten Wagner und Nuova Consonanza", Musiktexte
103, August, 2004.
(g2.1)/ Andersson, Magnus: Interview with Christian Wolff, Nutida Musik 2, 2007.

From a public interview at the festival "Open Form A Paradigm of the Arts", Oslo in March 2007.
The interview deals with the nature of open form music, Wolff explains that this is about
openness in performance, not just the use of chance. Further, it deals with the work Edges by
Wolff (see Wolff(1969;A1) in the 1945 99 bibliography!) according to Wolff one of his most open
works and presupposing experience with improvisation. Some more themes brought up by the
interviewer are whether open form music is more difficult to listen to than traditional music and
whether the experience is a more intellectual one. Wolff's answer to the latter question is
negative, for him the physical experience of the sound is the most important. The article
contains also a good factbox explaining the meaning of such terms as indeterminate, chance,
aleatoric, open form and open art work.

(g2.1)/ Beins, Burkhard; Kesten, Christian, Nauck, Gisela, Neumann, Andrea (ed.):
Echzeitsmusik. Selbstbestimmung einer Szene / Self-defining a scene. Hofheim (Wolke), 2011
A bilingual publication in German and English. "Echtzeitsmusik" - the main name for it all not
having been translated into English - meaning "real time music". It was/is a movement within
improvised music originating in East Berlin after 1989, having been performed in squat spaces
and spreading to many musicians also internationally. The music, generally, characterised by
"reductionism", often piano and with pauses.
The book features long interviews and personal statements. There is also a section for critical
discussions. Issues discussed are rhapsodic, often changing - even if editorial divisions do
exist: "History and stories" - "Discourse" - "Theory and Practice".
It is probably not a book to be read from one end to another unless you feel very much part of
the scene or know many of the names. But it could be one to consult when it comes to digging
up material around some of the many contributors (typical g2.1 material in this bibliography's
terminology ;-). A number of appendixes will support such work. The first one modestly named
"artists" is a comprehensive list of artists having performed at the relatively few venues listed,
maybe core ones for the movement, September 1996 through May 2011. These venues are
"2:13 Club, Labor Sonor, Raumschiff Zitrone, biegungen im ausland and Quiet Cue". The
number of names exceed 800. The list is not alphabetically arranged, so maybe chronologically.
Instruments played are included. Musicians from the German-speaking area are the majority,
but with a number of people from UK and other countries.
Additionally, there are both extensive name and subject indexes for the whole book. Also,
small CV listings describe the contributors who are: Thomas Ankershith, Harald (Harri) Ansorge,
Serge Baghdassarians, Boris Baltschun, Jrg Bariletti, Johannes Bauer, Burkhard Beins, Marta
Blazanovc, Nicholas Bussmann, Lucio Capece, Diego Chamy, Clare Cooper, werner
dafeldecker, Rhodri Davies, Bertrand Denzler, Bill Dietz, Axel Drner, Phil Durrant, Ekkehard
Ehlers, Sabine Ercklentz, Andrea Ermke, Kai Fagaschinski, Fernanda Farah, Kerstin Fuchs,
Bjrn Gottstein, Matthias Haenisch, Hanna Hartman, Franz Hautzinger, Robin Hayward, Teresa
Iten, Sven-ke Johansson, Margrethe Kammerer, Christian Kesten, Annette Krebs, christof
kurzmann, Greg Malcolm, Thomas Meadowcroft, Chico Mello, Thomas Breitenstein Millroth,
Toshimaru Nakamura, Gisela Nauck, Vered Nethe, Andrea Neumann, Nina Polasschegg,
Michael Renkel, Ana Maria Rodriguez, Adeline Rosenstein, Arthur Rother, Olaf Rupp, Ignaz
Schick, Ulf Sievers, Stefan Streich, T.Turner, Michael Vorfeld, Antje Vowinckel, David Walker,
Steffi Weismann, William Wheeler.

(g2.1)/ Bell, Clive (ed.): LMC...the first 25 years. Resonance 8:2 + 9:1 (double issue, with double
CD), special issue on London Musicians' Collective, 2000. LOGOS BRIT.LIBR. Please see the
1945-1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Bergstrm-Nielsen, Carl: "Offene Komposition und andere Knste". Bidrag til
"Themenschwerpunkt: Improvisieren nach Konzepten", ringgesprch ber gruppenimprovisation
LXVIII, juni, 2002.
About the activity in Danish Group for Intuitive Music and other similar groups as well as in the
teaching at Aalborg University. Discussion of this composition form.

(g2.1)/ Cardew, Cornelius: Cornelius Cardew: A Reader. Matching Tye near Harlow, England
(Copula), 2006.
Essays and writings by Cardew, including (1961;E2) and (1971;G3). Also commentaries and
responses from Richard Barrett, Christopher Fox, Brian Dennis, Anton Lukoszevieze, Michael
Nyman, Eddie Prvost, David Ryan, Howard Skempton, Dave Smith, John Tilbury and Christian
Wolff.

(g2.1)/ Collins, Nicolas (ed.): "Not nescessarily English Music", special issue Leonardo Music
Journal 11, 2001.

In his introduction, the editor describes experimental tendencies of the UK since 1960 and on as
a "golden age". There was a lively and independent activity both in free jazz and other kinds of
experimental music, and a distinctive feature was its pluralism, which disregarded former
distinctions between high and low art, composer and performer, and more. The movement was
uncommercial, and it needs to be better documented.

Below, selected articles are summarized.

In "The arrival of a new musical aesthetic: Extracts from a half-buried diary", Eddie Prvost,
himself an important figure in the development of improvised music, outlines a personal outlook.
This touches on influental groupings such as Spontaneous Music Ensemble, Music
Improvisation Compay, AMM, Cornelius Cardew and John Tilbury. Tilbury introduced American
indeterminate music to English audiences and Cardew's background in conservatory studies
and activity himself as a conservatory teacher also contributed to exchange on various levels.
Further, The London Musician's Cooperative [not the same as London Musician's Collective but
perhaps a forerunner], associated with The Little Theatre Club and the names of Derek Bailey,
Even Parker, John Stevens, Trevor Watts, Paul Lytton, Tony Oxley, Howard Riley and Barry
Guy - as well as the Scratch Orchestra.

Matthew Sansom, in "Imagining music: abstract expressionism and free improvisation", outlines
features common to Abstract Expressionism painting and free improvised music. Both
Surrealism and Dada practised the idea of "automatic writing" and transferred it to the process
of painting - "action painting" as it became named by Jackson Pollock. Being present in the
process and following the material's "own", emerging tendency, to let go of conscious control,
became essential. While reference could be made to figurative elements they were, however,
regarded as having a secondary importance. So Abstract Expressionism was centered around
the material and form of the art. Thus it differed from symbolism and iconography of earlier
times. Close parallels to free improvised music exist in their "artistic agendas" dealing with
"processual dynamics". Bailey's notion of "non-idiomatic" music is in line with this. - A fuller
understanding of free improvisation may occur by taking these parallels into account.

Hugh Davies accounts for the history of the live electronic music ensemble Gentle Fire in
"Gentle Fire: An early approach to live electronic music". This group played mainly open
compositions by a variety of composers. Verbally notated cokmpositions by Stockhausen (and
Sternklang) were among them, and there was a special collaboration with this composer,
Davies having been his assistant earlier. The importance of this ensemble for the open
composition music form is illustrated by the fact that a total of 28 different composers were
performed (including ones by ensemble members but excluding collective compositions by the
ensemble), and 100 works with 245 performances during the lifetime of the group 1968-1974.
This article is a fascinating account of this group's career which includes also many details of
the historical context. - A composition being typical of the group spirit, according to the author,
by Graham Hearn is stated in extenso.

Stuart Jones, in "Making it up as you go along", reflects on his musical career in the ensembles
Gentle Fire, British Summer Time Ends and Kahondo Style. This includes also reflections on
the nature of pluralism, the mixing of styles: in Gentle Fire, as coming out of a love of "surreal
conjugations and juztapositions" that might be akin to British stand-up comedy; later, as from
simply following their liking for the popular music they had also played (cf. the editor's remarks
on pluralism cited above!).

David Toop introduces the enclosed two CDs with personal memories, "Not necessarily
captured, except as a fleeting glance". The variety of experimental music from 1960 and on is
also reflected on - the spirit of postwar times he characterizes as "a kind of cultural and political
anarchy", on the background of the war that had ended, but within the security of a stable
society. That led to "collapsing boundaries" between the various experimental tendencies, and
between high art and pop. The Portsmouth Sinfonia lead by Gavin Bryars who was a lecturer at
the Portsmouth Art College then, is mentioned. The orchestra often appeared "hilarious" with its
seemingly wretched renditions of popular classic excerpts, yet its basis was a serious playing to
the best of each one's ability - a pluralist phenomenon.

Finally, there is a section (of seven) pages which, almost slightly encyclopedia-like, provides
detailed information on the musicians and the music. Examples of such detailed small articles
include the one on The People Band, and the one describing a group composition by Gentle
Fire.

Other than by the authors mentioned above, there are also articles by: Dorin Casserley; Alvin
Lucier; Scanner; Janek Schaeffer and Joe Banks.

(g2.1)/ Corbett, John: Booklet article, Sounds 99, 3 CD-set Blue Tower Records BTCD
09/10/11, 2000.

Interesting remarks about nations and clichs. "according to this set of clichees, Germans were
the power blowers, the Dutch the theatrical ironics, the British some sort of anal-compulsive
abstract sound manipulators...there's been plenty of flux, with the Brit Steve Beresford adopting
"Dutch" cgharacteristics, and Germans like Wolfgang Fuchs utilizing more "British" aesthetics,
and so on" (p.16).

(g2.1)/ Curran, Alvin: "...todesverachtend, lebensbejahend, extasesuchend...". Special issue

Improvisation, MusikTexte 86/87 November, 2000.

Historical notes about an important Italian music phenomenon of the seventies and on, Musica
elettronica Viva.

(g2.1)/ Decroupet, Pascal: "Vers une theorie generale", MusikTexte 98, August, 2003.

Includes analysis of Mobile by Henri Pousseur and other works - there are mutual reactions,
listening pauses, modifying what you play next according to what you have heard.
(g2.1)/ Drees, Stefan: "Erinnerungen mit Beethoven. Kagels Fragment - Hommage in der
"Musikzimmer-Szene" von "Ludwig van" (1969/70)", MusikTexte 120, Februar 2009, p.153-156.
Information and comments around the film and the published score "Ludwig van. Hommage
von Beethoven", Universal Edition, Wien 1970. This score consists of photographs of rooms
and furniture covered with fragments from Beethoven's works put together in collage manner. It
it to be interpreted freely by instruments ad lib.

(g2.1)/ Dudda, Friedrich: "Die Wurzel aller Modernitt. Die Bedeutung des Ausdrucks
"Improvisation" im Idiolekt von Pierre Boulez". "Schlechte Unterhaltungsmusik? Pierre Boulez
und die Grenzen der Improvisation". MusikTexte 131, November 2011, p. 28-32 and 33-36.
Boulez was greatly inspired by poet Mallarm and composer Debussy because of the
ambiguous aspects of their works, which he saw as expressions of spontaneity and as
improvisational qualities. He also saw "improvisatory" qualities as essential to his own music -
by which he meant certain possibilities to freely combine parts of some works, or to let some
parameters open, tempo for instance, at certain spots in his compositions. In order for a
composition to be aesthetically successful, he views it as an absolute nescessity that both eye
and ear must be involved. That is, there must be planning and reasoning, and thus for him
improvisation can only make sense as a finish, as the last step in realising a musical work.
Forms of improvisation more free than that could only become aesthetic failures according to
him, and he judged them as childish.
The second article investigates the thesis by Boulez that the aim of the musical work is to
allow us to become more ourselves and constantly to open up new, unexpected spaces. Seen
in relation to free improvisation, according to the author, on the grounds of his own arguments
Boulez could not think that good free improvised music was logically impossible, only that it
would, empirically, be improbable. However, many phenomena in art history have to do with
letting go of control and seem to be able to fulfill the aim he formulated and which was stated
above. Seen in relation to "conceptual improvisation", to open forms of composition (which, for
Dudda, seems to include a practise of "work in progress"), he notes that the function of writing
itself is reflected on in this form - only during the compositional work it will become apparent
which functions writing is going to have. - The fact that Boulez makes negative statements
about the limits of improvisation without having a sufficient first-hand knowledge of the practises
he rejects shows that his position is a dogmatic and conservative one. Beyond such limited
views, it can be noted that group improvisation, being "poly-individual", has a parallel in modern
literature in which the central perspective of one narrator has been expanded in favour of
unfolding the narrative perspective from several persons.

(g2.1)/ Eley, Rod: A Short History of the Scratch Orchestra, in: Cardew, Corneilus: Stockhausen
serves imperialism, at www.ubu.com, 2004.
Originally published in 1974 (London, Latimer), this is a critical book in which Cardew and
others take their new stand against the playful avantgarde activity of the Scratch Orchestra till
then and for an orthodox Marxist position. This essay contains also some information about
events and tendencies within the orchestra.

(g2.1)/ Feisst, Sabine: "Etwas Unvorhersehbares tun. Zur Bedeutung der Improvisation bei
Cage", MusikTexte 106, August, 2005.

Lecture examining the relation of Cage to improvisation, held at conference "New Directions in
the Study of Improvisation", Univ. of Illinois 2004 (org. by Bruno Nettl and Gabrioel Solis). The
author previously wrote about this subject in her book Feisst (1997;G1.1)
(g2.1)/ Frisk, Henrik: Improvisation, Computers and Interaction. Rethinking Human-Computer
Interaction Through Music. PhD, Malm Academy of Music, Lund University. Doctoral studies
and research in fine and performing arts no. 6, 2008. ISSN 1653-8617. Online:
http://www.performingarts.lu.se/upload/performingarts/ImprovisationComputersAndInteraction.zi
p
Investigates how an open score can take shape, based on the computer used in musical
performance, which allows for improvisation and for accumulation of experience. An example is
worked out, using Integra Class and Csound software. Among others, theoretical references are
made to Eco's ideas about the open work (see Eco (1962; G3) and to some concepts taken
from Nattiez. These describe "poietic" (constructive), "esthetic" (interpretative) and "neutral"
levels - the last one onsists of the trace left by one of the other ones. In both composition and
performing there may be an oscillation between poietic and esthetic levels. "...no matter what
the current process is, and regardless of the current mode of interaction, the initiative can shift
back and forth between the performer and the electronic part", the author states p.162. Even if
the the main initiative is seen as coming from the performer, there is also a feedback from the
computer. - The author proposes a notion of 'interaction-as-difference' instead of 'interaction-as-
control'.

(g2.1)/ Furnell, Rebecca: Declaring Independence: New Experiments and the Political Music of
Frederic Rzewski. MA Thesis, Univ. of Manchester, 2000.

About Rzewski and Cardew (Rzewski advised Cardew not to do the Treatise project) and
Sound Pool Events.

Groetz, Thomas: "Nordeuropische Dorfmusik, Traktoren und Windrder. Zur Alltagssthetik

von Sven-ke Johansson. MusikTexte 129, Mai 2011, p.4-9.
Quoting sketches of compositions by Johansson, which seem to be mainly for the composers'
own memorising. In the same issue there is also one more article about Johansson by Peter
Ablinger and a list of works.

(g2.1)/ Gronemeyer, Gisela and Oehlschlgel, Reinhard (ed) (2007): Frederic Rzewski:
Nonsequiturs. Writings & Lecures on Improvisation, Composition, and Interpretation. / Frederic
Rzewski: Unlogische Folgerungen. Schriften und Vortrge zu Improvisation, Komposition und
Interpretation. Kln: Edition MusikTexte. Part of a series: Edition MusikTexte 009. All texts
appear in both languages.

This collection of materials related to Rzewski contains both considerations of a general and
political nature regarding music and writings touching specifically on improvisation and related
matters. Among the latter are "Little bangs" (p.48) and "A Fresh new wind" (p.144). Further
"Inspiring the love of the art. Teaching composition tomorrow" which reflects on the increasingly
collaborative qualities in innovative music. Giving thoughts to performance has now become a
nescessity according to this, an area which was formerly left to performers and technicians.
Further "Creating out of nothing" (p.154). And there is a whole section in the book with
documentation around Musica Elettronica viva (MEV). A peculiar documentation text is to be
found here around "Zuppa". This was an improvisation event held several times. Although only
the title and no further explicit agreements existed before playing, it nevertheless became a
notion of a certain kind of music-making, similar to some of the prose pieces. In addition to
Rzewski's description, Alvin Curran also has provided a list of instruments available, which
makes it more clear what could make it tempting to the audience to take part. So this is a rare
description of a "greyzone composition" between composition and improvisation, taking shape,
as it seems, also from the recurring performances. Rare, because those who create such
"pieces" often do not often describe the process to others, and so it remains obscure, in some
cases also wilfully so. - "Provisory confession" is a text from 1964 going into some details of
notation and performance in selected compositions. More up to date is the large the collection
of program notes that also reveal glimpses of such aspects. Finally can be mentioned some
articles from Vinton (1974; h2.2 as well as mentioned with some individual authors). One of
these, "Intellect and intuition. Non-metrical rhythm since 1950", quotes Edges by Chr. Wolff in
extenso.
Importantly, this book also makes some verbal scores ("prose pieces") available in both
English and German language. These are, confusingly, not designated as such in the table of
contents, but here is a list:
Imitation Love p.116
Second structure p.144
Work songs p.284
Spacecraft p.292
Sound Pool p.324

Second Structure, Spacecraft and Sound Pool are also online at IIMA.
The reader is strongly advised to search both the present addenda section and the previous
one of the bibliography for literature and pieces by and about Rzewski. Both since he has in
recent years written some articles of a larger scale than most of those compiled in this book,
and because the various materials supplement each other well.

(g2.1)/ Guy, Barry: "Graphic Scores". www.pointofdeparture.org 38 [2012]. Downloaded 29.april

2012. French translation originally published in L'Art du jazz (d. du Flin), 2011.
The composer comments on Bird Gong Game, Witch Gong Game, Un Coup de Ds and
Ceremony. The typical way of working seems to include providing of both pitches and others
kinds of material, presented in visually separate sections (maybe in some cases to be chosen
from by conductor or soloist?). Visual design ofteh reflect the perceived background and
atmosphere of the composition. Compositions are also tailored to the individual occasions. Even
so, at least Bird Gong Game was performed later with many different soloists. The article is a
short one - many instruction details are not explained, and the colour illustrations are in low
resolution (although prints exist for sale). It is, however, much to be welcomed because of the
importance of documenting these works that integrate visual design on a very high level with
composition.

(g2.1) Herndler, Christoph: Wegmarken beim notieren unvorhersehbare Ereignisse. Magazin 31

Nr 16/17 ISSN 1660-2609 (Schweiz), 2011A.

Describes own works by the author and states points of view of interest in notation issues.
Works are notated as schematic patterns, the elements of which represent musical incidents to
be created by the musician.

Thus, there is a wish to "share the formal, not the acoustic aspect" of the music, to "not only
write down the music but also to communicate it" ('nicht nur festhalten sondern auch
mitzuteilen').

There are precise demands made on the musician, however. Supermixen for a string instrument
has signs for bow pressure, position of the bow and for finger pressure. Abgeschnitten, der
Kreis... has been presented in a version with independent, simultaneous versions taking place
in music and through the camera. Streifend der blick... also may involve moving in space. The
author remarks that the freedom involved here is not "tabula rasa" but comparable to a
"freeclimber" climbing a sheer cliff. There is spontaniety, but one cannot go in all directions.

More generally it is stated at the end that notation served ends of reproduction. With todays'
advanced reproduction means, this is not nescessary any more in order to recall a performance,
although huge quantities of music are still "preserved" in this way. The author strives instead to
pass on the ideas of musical processes in a less subjective form.

See also Neuner (G2.1;2011)

g2.1/ Jost, Ekkehard: Free Jazz. Graz, 1974. Reprinted 2003, Part of a series: Beitrge zur
Jazzforschung; 4. Please see the 1945-1999 bibliography in which this item has been listed.

(g2.1)/ Kager, Reinhard: "Spontaneitt versus Reproduktion. Einige Gedanken zur Situation des
Improvisierens heute", MusikTexte 111, November, 2006.

Mainstream jazz is critisized for having a reproductive attitude and thus having alienated itself
from the former creative spirit of jazz. As positive developments the author sees the use of
computers in freely improvised music and interest in improvisation from classical avantgarde
composers. Reference is made to Adorno, Berendt, Noglik, Lewis and Wilson.

(g2.1)/ Kager, Reinhard: "Elektronische Impulse. ber die Bedeutung des Computers in der
improvisierten Musik", 'MusikTexte 115, November, 2007.
Comments and quotings by musicians who share the view that the computer is becoming just
another instrument in improvised ensemble playing.

(g2.1)/ Karkoschka, Erhard: "Aspects of Group Improvisation",

http://www.intuitivemusic.dk/iima/ek.htm 1971 (transl.2004).

Translation from German of the classical article by Erhard Karkoschka from 1971 on
improvisation as a liberating experience seen from a composer's point of view. (g2.1)/
Lukoszevieze, Anton: "Die Welt als Musik durchwandern" - "Nahezu komplettes annotiertes
Werkverzeichnis Philip Corner", MusikTexte 99, December 2003.

The last title contains a list of verbally and graphically notated works by this Fluxus-orientated
composer which is comprehensive and annotated - among other things, instrumentation and
notation are stated.

(g2.1)/ Kunkel, Michael (ed.) et al: "Diskussion...". Dissonance, Schweizer Musikzeitschrift fr

Forschung und Kreation 111, December 2010, p.64-77. Also online:
http://www.dissonance.ch/de/hauptartikel/82
Contributions from not less than 35 authors who comment the article Meyer (2010; G2.2). For
a continuation of the discourse, see Nanz (2011; G2.1)

(g2.1)/ Lekfeldt, Jrgen: "Som tiden gr - portrt af Carl Bergstrm-Nielsen", Dansk

Musiktidsskrift 2, oktober + 3, november, 2001/02.

Examines and analyses selected work dealing with improvisation in various ways, among others
Quadrivium for piano (1972), Mimesis I for wind quintet (1974), Postcard-Music (1976), pieces
from "improvisationskalender" (1996) and Frameworks (2000f). Includes lists of selected works,
of recordings and of selected writings on music (especially in Danish).

(g2.1)/ Lewis, George E.: A power stronger than itself: the AACM and American experimental
music. Chicago (University of Chicago Press), 2008.
This book provides a thorough social history of Afro-American tendencies up to and through
the AACM movement centered in Chicago. This includes reviewing their background in jazz
practise and their development with "free jazz" musicians such as Albert Ayler, Cecil Taylor,
Archie Shepp, Wadada Leo Smith, Roscoe Mitchell, Anthony Braxton and Muhal Richard
Abrams (Richard Louis Abrams).
Unlike the white music forums, jazz in the fifthies did hardly know of preservational and
educational institutions. Instead, it relied on autodidact practises, strongly supported by a
communitarian context. Social status was clearly low-class. The "late night" sessions of the mid-
fifthies in Chicago described is an example. Jazz was long known to white audiences, but
bebop departed from prevalent enterteinment expectations and became controversial. The
Association for the Advancement of Creative Musicians, AACM, founded in 1965, was a
collective endeavour of both promotional and educational self-organisation. It grew in Chicago
and spread to New York too. Members also appeared in Europe with success.
AACM's members were black, but they operated within an increasingly mixed American city
culture. Many of the musicians had migrated to Chicago from the South, finding themselves in a
new urban environment. Significantly, many AACM initiatives were reviewed by the Down Beat
Magazine, even if critics were often negative. Also testifying to the mixedness and
interpenetration of cultural elements is the influence of the Russian art theoretician Joseph
Schillinger on Muhal Richard Abrams and others. His ideas dealt with systematic structures in a
way comparable to those of Messian and the serialists. Quoting Henry Threadgill (p.500),
there was indeed a "crossing over" to white avantgarde music. Acculturation, pluralism seems
relevant keywords for this long development, which (the present author speculates) seemed to
have begun already with the slaves adopting elements from white march music. Seen from the
white side (present author continued), jazz pushed the white avantgarde in improvisational
directions, both indirectly to aleatoric and indeterminate procedures (according to Braxton
quoted in Cox (2004; H1) p.164) and directly (see summary of Noglik (1990;G1.1)).
Even so, Lewis quotes a number of black musicians for statements about personal and
emotional attatchment to their music, contrasting to the cultivation of the impersonal with Cage
and other indeterminalists (p.41). This provides some more background substance for the
claims stated in Lewis (1996; G3) and in the article by Lewis included in Fischlin and Heble
(2004; G3). Yet, how far do generalisations go - do not overlappings exist here too?
The author aims at "encouraging the production of new histories of experimentalism in music"
and asserts that the developments described generally influenced "the relationship of
improvisation to composition" (preface, xiii). Yet, the compositional methods, in particular the
notations, remain unfortunately outside the focus. We are solely given three score excerpts by
Anthony Braxton, Roscoe Mitchell and Wadada Leo Smith (illustrations between p.216 and 217)
with no explanations. White experimental music was influenced by the surrounding written
culture and benefited from publishing. But now, as jazz is receiving extensive study also on the
academic level, this large white field on the map could indeed be filled. PhD writers, go ahead!

(g2.1)/ Lothwesen, Kai (2009): Klang - Struktur - Konzept. Die Bedeutung der Neuen Musik fr
Free Jazz und Improvisationsmusik. Bielefeld (transcript Verlag).
The book provides details leading to the conclusions summarised in Lothwesen (2012; G1.2).
Other than that, two remarks can be made:
1) in the introduction there are interesting statements aout the phenomenon of anachronism
when elements from art music are taken over in a jazz context as well as vice versa (p.9-11).
No examples are stated, beyond bebop being of no interest to art music composers - and Third
Stream as well as Free Jazz being exceptions to the rule. The reader may think for
him/herself...
2) There is detailed analysis of the music of Georg Grwe, Alexander von Schlippenbach and
Barry Guy on the phenomenological basis of the author commenting his perception of
recordings. This is unfortunately not very enlightening of one seeks information about precisely
how these composers worked to integrate composition and improvisation - even with this being
explicitly stated as a main interest with the two latter ones. We are left with very sparse
suggestions: Grwe utilises written structures as jumping-off boards for improvisation. And we
are told that the integration of composition and improvisation was very important to von
Schlippenbach and that this also lies behind the name "Globe Unity Orchestra". In one case the
author even suggests that the reader may hear for himself: "Die klanglichen Auswirkungen
planerischer Vorarbeit...knnen gut anhand von Hreindrcken erfasst und verfolgt werden"
("the sounding results of previous planning work...may be perceived and followed well from
hearing" (p.142). Even with this being so, there is an acute need to describe what the
composers actually did while one can still ask them or collaborators who knows.

(g2.1) Lothwesen, Kai: "The Role of Contemporary Music for the Development of European
Improvised Music". In: Jazz, improvised music and contemporary composition: convergences
and antinomies (= Filigran 8, S.69-82), hrsg. von Pierre Michel. Edition Delatour. ISSN 2261-
7922. Online: http://revues.mshparisnord.org/filigrane/pdf/356.pdf. Published 26.January 2012.
Investigates works by jazz composers Grwe, Barry Guy, and Schlippenbach as influenced by
contemporary music (Webern, Ligeti, Xenakis) as well as contemporary music composer Bernd
Alois Zimmermann who collaborated with Schoof, Zimmermann and others. A statistical
analysis of verbal statements documents the difference between the way critics and musicians
describe the music. A theoretical model accounts for the differing but ultimately related
rethorical characteristics: legitimation of "European Free Jazz" regarding the critics and "Initial
for inspiration and striving for social prestige" for the musicians. It is concluded that "Whereas
emancipation appears to be a historical phenomenon, assimilation continues to be a challenge
for improvising musicians, giving rise to fascinating listening experiences". Nevertheless, the
author stresses that motifs for approaching those tendencies are individual. - This article
summarises the author's book Klang Struktur Konzept. Die Bedeutung der Neuen Musik fr
Free Jazz und Improvisationsmusik. Bielefeld (transcript), 2009.

(g2.1)/ Maschat, Mathias (2011): Kollektive Kreativitt. Das Splitter Orchester - ein
Paradebeispiel. Positionen 89, November, p.31-34.

Discusses the way to play in a large improvisors' orchestra. Mentions a number of other
orchestras, among others: ICP Orchestra, Multiple Choice Orchestra (Cologne), Ensemble X
(Cologne, founded by Carl LudwigHbsch), NCZkekvist (Austria/Norway/Chech), Action
Sound Painting Orchestra, CHeltanham Improvisors Orchestra, Erstes improvisierendes
Streichorchester, Feral Choir, Glasgow Improvisors orchestra, Insub Meta Orchestra,
International Composers and Improvisors Forum Munic, Klang-Drang Orchestra, London Kazz
Composers Orchestra, Millefleur, Oxford Improvisors Orchestra, Royal Improvisors Orchestra,
So Paulo Improvisors Orchestra, Second Nature (Baltimore's Improvising Orchestra, Swiss
Improvisers Orchestra, Variable Geometry Orchestra, Vienna Improvisors Orchestra,
Wuppertaler Improvisationsorchester.

(g2.1)/ Metzner, Susanne: "hear and everywhere", Einblicke 13, 2002.

Accounts of a course at Magdeburg. Participants worked independently of each other and

communicated via a billboard
(g2.1)/ Meyer, Thomas: "ber das Verfertigen von Prludien. Eine Gebrauchskunst zwischen
Komposition und Improvisation", Neue Zeitschrift fr Musik. Tema-nummer om improvisation.
No. 4, Juli/August, 1999.

On historical improvisation guides by among others Clementi, Couperin, Gretry, Telemann,

Kalkbrenner.

(g2.1)/ Meyer, Thomas: "Ist die freie Improvisation am Ende?". Dissonance, Schweizer
Musikzeitschrift fr Forschung und Kreation 111, September 2010, p.4-9. Also online:
http://www.dissonance.ch/upload/pdf/diss111.hb_04_09.pdf (including abstracts in German,
French, Italian and English)
The author takes some detailed looks at improvised music in Switzerland twenty-one years
after Meyer (1989; G2.1). It has become much more established and integrated into educational
institutions. However, the author thinks there is still an absence of reflection and afterthought,
even despite a number of large congresses has been held (Tagung fr improvisierte Musik
Luzern), and even though there has been a close collaboration between the Swiss Composers'
Union (Schweizerischer Tonkunstlerverein) and the improvisor's organisation Swiss Musicians'
Cooperative (MusikerInnen Kooperative Schweiz) as joint publishers of Dissonance Magazine
until 1996 when the latter was dissolved.
He asks whether the idea(s) of free improvisation are now outdated and absorbed into
mainstream, since there is neither much discussion nor seemlingly intense activity related to it
with the young generations as it seems to him.
See also the numerous reactions to this article Kunkel et al. (2010; G2.1). For a continuation
of the discourse, see Nanz (2011; G2.1)

(g2.1)/ Mockus, Martha: Sounding Out: Pauline Oliveros and Lesbian Musicality. New York
(Routledge) 2007.

This book examines the influence of lesbian commuinities and "second wave feminism" on
Oliveros' work. Sonic Meditations has been devoted a chapter for itself. More about it in the
review by Tracy M. McMullen in Critical Studies in Improvisation, Vol.4, no.2, 2008.

(g2.1)/ Nanz, Dieter A.: "Improvisieren und Forschen. Gedanken am Rande der Basler
Improvisationsmatineen". MusikTexte 114, August 2007, p.83-84.
Thoughts around the improvisation matins in Basel which started 2003. Improvisation has
become established at conservatories. An immanent critique of the music form is suggested,
emerging from the experience of its rhapsodic character. A critical view of the theorising part of
the series is presented, after an acclaim of the performance part. The author proposes to study
the philosophy of Merlau-Ponty (with 'body knowledge' as a notion) in order to find a theoretical
basis which is not a result of forced theorising that fails to connect to its object of study because
of an unreflected striving towards being objective.
See also the book Nanz (2011; G2.1), a book written by contributors to the series.

(g2.1)/ Neuner, Florian: "Die Sache selbst. Zu Subjekt/Objekt". Booklet to DVD "Subjekt/Objekt",
Brucknerhaus Linz, 2011. Cop. by Ch.Herndler, M.Scherer

An introduction to Christoph Herndler's principles of composition - close to the descriptions by

Herndler himself (G2.1; 2011) but worth reading for the authors' way of throwing this into relief
with traditional ways of reproducing music from the sheet. For instance: "...no score from which
one could write out parts and which would then suggest the limited role of each musician in the
large whole. Every musician have at all times the total "score" to look at. The formal
construction is not a riddle which you would have to approach through analysing it first. It is
quite open und accessible to every musician."

Also liner notes to the content which is a version of "abgeschnitten, der kreis" for large
ensemble and a number of video cameras, a performer and a drawing artist. This work was also
discussed by Herndler in (G2.1; 2011).

(g2.1)/ Neuner, Florian: "Auf der Spitze des Eisbergs. Die Berliner Komponistin und Verlegerin
Juliane Klein". MusikTexte 139, p.5-13. Includes a list of works.

Juliane Klein did her first studies in the DDR with, among others, composer Hermann Keller
who taught her improvisation and composition. She later developed her own form of open
composition. It seems to rely for the most part on verbal instructions, judging from the example
quoted. This is a section in extenso ("work sheet") from the opera "Allein" (2012). It states some
reflections on the dramatic content and provides a poetic description of the desired atmosphere,
as well as some concrete musical guidelines.

(g2.1)/ Nonnenmann, Rainer: "Wanderer, kommst du nach...?", in: MusikTexte 102, August,
2004.
Includes a discussion of problems with late works by Nono which were written in close
collaboration with musicians. They remain bound to those specific persons and are hard to
approach by others - the know-how remained implicit with Nono and those musicians.

(g2.1)/ Nonnenmann, Rainer: "Wider den Utopieverlust. Mathias Spahlingers "doppelt bejaht"
beschreitet neue Bahnen". MusikTexte 124, Februar 2010.
Introduction and comments. Quotes four of the sheets of this graphically and verbally notated
piece.

(g2.1)/ Nonnenmann, Rainer: "Jenseits des Gesangs. Sprach- und Vokalkomposition von
Schwitters bis Schnebel". MusikTexte 126, August 2010.
Quotes from Schnebel: Glossolalie 61 (Edition Schott ED 6414, ISMN 979-0-001-06833-8, -
and cop. 1974 according to Nonnenmann) which is a worked-out version of the basic
composition Glossolalie, still existing as an unpublished model - cf. the remarks about Schnebel
(C2;1972). This unpublished model, we are told here, was to be used by musicians to make
their own version, in order that they would really, as Schnebel puts it, "play their own music and
not follow someone else' s command". This quotation is from "glossolalie (1959) fr Sprecher
und Instrumentalisten, Vorabzug des unverffentlichten Manuskripts, Mainz: Schott, ohne Jahr,
1". There is also a quotation from "Exerzitienmaterial fr Atemzge", also unpublished material
as it seems, cop. 1974 Schott. - There are as well quotations from Hans G. Helms (Fa:m '
Ahniesgwow) and Berberian (Stripsody).

(g2.1)/ Ochs, Larry (2000): Devices and Strategies for structured improvisation, in: Zorn, John
(ed.): Arcana. Musicians on music. New York (Granary Books/Hips Road). P. 325-335.
One of the extremely rare accounts in detail of how compositional work can be done on a
background of avantgarde jazz, rather than experimental classical music. The author was
inspired by Steve Lacy, Braxton, Wadada Leo Smith, Cecil Taylor, Roscoe Mitchell and John
Zorn since 1977. He has composed for the Rova saxophone quartet. A large number of works
of his are described so that different compositional designs become clear, both how they work
in themselves and how they differ. - Basis of his method is the familiar improvised jazz solo.
Duos with simultaneous "soloists" are frequently employed, also multiple duos. Given
melodic/thythmic materials influence the character of the pieces - they may be extended to a
very high degree with ever new freely improvised, maybe contrasting materials, along the way.
Further, shifts (sometimes repeated after a short time) are made to happen by means of cues,
and several or all musicians can be in charge of those. The author states about his way of
composition that the given material ("starting material" and "finishing material", also additionally
designed as "musical or thematic material") as well as the "limits of expression put on the
outcome by the composer" (p.333) are decisive as to the outcome, not the structure of the
piece. He also characterises the extra benefits of open composition: "...the decision to use
(structured) improvisation ... to create the possibility of even more... than the composer
imagined possible... Or, at the very least, to allow for the possibility of different - or fresh
realizations... with each performance" (p.326).

(g2.1)/ Parsons: The Scratch Orchestra and Visual Arts, Leonardo Music Journal 11,1, 2001.

Contains good, detailed accounts of the history of the Scratch Orchestra. Also activity of
Portsmouth Sinfonia and Fluxus is treated

(g2.1)/ Pfleiderer, Martin: "Herausforderung. Der englische Saxophonist John Butcher",

MusikTexte 86/87 november, 2000.

(g1.2)/ Polaschegg, Nina: Gegenseitiges Befruchten und Durchdringen. Zum Spannungsfeld

von Komposition und Improvisation. MusikTexte 139, November 2013.
Characterises a number of composers from the "middle or younger generation" who take
interest in improvised music. Some of thesestudy it before writing fixed compositions. What is
new about this is the existence of an improvised music scene. Some composers may also be
improvisors themselves. Others make it part of the performance. Jorge Sanchez-Chiong (living
in Vienna) creates ad hoc compositions for specific musicians and combines sometimes
traditional interpreters and improvisors in one piece. In Salzburg, composer Gerhard E.
Winckler's "Bikini Atoll" some details are left to the musician's discretion, and a live-electronic
part will react, unpredictably, to what was played. In German Karlheinz Essl's "more or less" for
improvisors, short verbal directions are computer generated during performance. Lindsay
Vickery is from Australia and part of the "Decibel" ensemble - "Transit of Venus" is notated in
outlines. Belgian Stefan Prins combines fixed parts and parts notated in outlines in
"ventriloquium". All mentioned works are illustrated in the article with samples from the scores.

(g2.1)/ Prvost, Edwin: The First Concert. An Adaptive Appraisal of a Meta Music. (Copula,
Matchless) 2011.

This author's first book filled with thoughts on improvised music and related was Prvost
(G3;1995), viewing improvisation as "self-invention", according to its subtitle. The next, Prvost
(G3;2004) had as subtitle "meanings in music-making in the wake of hierachical realignments
andother essays". It dealt with the author's view of various recent and past tendencies in music
history and life. The present work presents a new idea as its framework, an "adaptive"
perspective inspired by evolution theory. This seems an interesting supplement to materialistic
history views. As the author concedes (p.xi), primary source is "personal observations" rather
than "scholarship". The term of adaptation acts as a loose framework for a gentle reviewing of
various matters of special interest to the author, sometimes asking more questions than are
being answered. Matters may deal with the historic development of improvised and
experimental music. The looseness becomes apparent for this author for instance when
(p.209ff) two verbal scores (by Allison Knowles and Markus Trunk) are given an "adaptative"
analysis - but the text does not make it clear how their contribution to "change our perception of
things" is related to ideas of adaptation, such as discussed elsewhere in the book.
But some interpretations of adaptation in music are indeed stated: serialism and science; a
punk-dance originating in jumping in order to catch a glimpse of the band playing (chapter 2);
free jazz as a turning towards "simpler values" (chapter 6); ecstacy as a creator of "cognitive
fluidity" and serialism as both reflecting war economy and a search for "otherness" (chapter 8).
Basic virtues with the improvising musician (meta-musician) of being empathetic and un-
selfconscious are seen as a "biological imperative" (chapter 13).

Chapter 10 describes the authors' weekly London workshops which have been running since
1999, their standard procedures and experiences made. It has thus a special documentary
value (see also Chase's report (G3; 2006)). P. 76-81 deal with Cardew's Treatise.

In chapter 11, "Improvisation - Self-plagianism - Ventriloquism", concepts describing various

improvisor's roles towards musicians they have learnt from and towards themselves are
sugggested.

In this book as in the previous ones, the language can serve as a delicious lesson of advanced
English, employing a large vocabulary to learn from. Just one example: "To remain
dumbfounded by such a situation - to choose, or allow, oneself to be persuaded not to speak of
it - is a type of moral cowardice" (p.218).

(g2.1)/ Reimann, Christoph: "Kollektives Individuum. Das Berliner Splitter Orchester".

MusikTexte, August 2013, 29-35.
The "Splitter Orchester" was founded in 2010 by Clare Cooper, Clayton Thomas und Gregor
Hotz. Cooper and Thomas came from Australia where they had another "splitter orchestra" with
a workshop character. The founders invited twenty-four more improvising musicians to
participate. The orchestra works in the public sphere - one concert in August 2010 was at Berlin
Central train station. It has some historic connections to what has been called "Berlin
reductionism" with long pauses, much use of noise and a selective approach to sound. The
orchestra works mainly with free improvisations - however, informed by exercises. All members
can bringh their proposals and alternate as rehearsal leaders. Some exercises are simple, such
as: "We play a crescendo having the duration of three minutes" or, "Play in such way that you
can still hear the most quiet instrument". The article describes also two other exercises posing
more complex tasks.
The orchestra performed a version of Mathias Spahlinger's "doppel bejaht" during the
Darmstadt Summer Courses. This is a composition consisting of individual parts, each of which
is notated with verbal means and accompanied by a graphic sketch. The article quotes one of
these (number 3). The title may be translated as "cluster (or infinite multitude of pitches)" -
German: Klangband (oder unendlich viel Tonhhen). "Long and less long durations, solely
individidual tones adding up to chords which change gradually all the time. No connected tones,
melodies nor rhythms./Players start and stop their tone as well as make pauses ad libitum, then
they play the same tone, or a different one. Always individually: do not start or end
simultaneously with other musicians". After each section, there are three possible next sections
to choose from. After each section, musicians are to agree non-verbally on which to play next.
During rehearsals, a selection of sections was made. This was, according to the author, to a
high degree based on actual instrumental possibilities.

(g2.1)/ Rieger, Gerd: "Das Gedchtnis in der Improvisation - das 12. Improvisiakum vom 5. bis
7.November 2010 in Kln", Ringgesprch ber Gruppenimprovisation LXXIV, april 2011, p. 77-
78.
A Report from the improvisor's meeting in Cologne with the theme "memory in improvisation"
led by Reinhard Gagel. Participants first played in sub-groups, then they left individually one by
one in order to join a different group, but they were to re-use some short musical figures or
elements in their new group. Later in plenary meeting these elements were played and used in
various ways again. One more meaning of "memory" was explored later, that of how individual
experiences with music and movement i early years influence us later on.

(g2.1)/ ringgesprch ber gruppenimprovisation LXVIII, June, 2002.

Speciel issue on improvisation following recipes. Various exercises and pieces are quoted
around in this issue.

g2.1/ Rutherford, Paul: Telephone conversation with Paul Rutherford, 4/5, 2000. Please see the
1945-1999 bibliography in which this item has been listed as a special exception.

g2.1/ Rzewski, Frederic; Teitelbaum, Richard: liner notes to CD MEV Musica Elettronica viva
"Friday". plana-M 29/NMN.073, 2008.

Rzewski's contribution deals with utopian aspects of this composers' group which members
abandoned composition for improvisation. This was, according to Rzewski, about creating
"meaningful rituals, not images". The group process "tends to be more intense than any solitary
activity such as composition, this is because living in a group tends to amplify all experiences,
both the positive and the negative ones". Music-making should be freed from commercialism
and passive adoration of stars - then "the "concert" will come to resemble other liberated forms
such as the party or the day-off, themselves secular remnants of earlier ceremonies".

Teitelbaum's "MEV then and now" discusses the inclusiveness typical of the historic time in
which the group was active. It is stated to be an excerpt of "Some MEV Memories" (no further
references are given).

Saunders, James: "Vielfalt der Konfigurationen. Modulare Musik", MusikTexte 130, August
2011, p.58-74.
Composer James Saunders accounts for his ideas about "modular composition" which leaves
details open for the musician's own interpretation and allows the works to have different
durations. Reference is also made to similar procedures in works by John Cage and Matthias
Spahlinger (128 erfllte Augenblicke, 1975). In the same issue there is an article by Max
Nyffeler, "Konzeptionelle Spiele" (53-57) and a work list. In Nyffeler's article he is also quoted
for taking Chr. Wolff's orchestra piece "Ordinary Matter" (2001) as a model.

g2.1/ Schwabe, Matthias: "Carl Bergstrm-Nielsen: From the Danish Seasons" in:
Ringgesprch ber Gruppenimprovisation, Mrz, 2000. Please see the 1945-1999 bibliography
in which this item has been listed as a special exception.

(g2.1)/ Spahlinger, Mathias: "Veruneinheitlichende Ideen. Mathias Spahlinger spricht ber den
Komponisten Hans Wtrich", Dissonance, September 2010, p.48-55.
Includes a quote from, and comments on, Hans Wtrich's Kommunikationsspiele (1973).

(g2.1)/ Sutherland, Roger: "The Death of the Scratch Orchestra: A Personal Account",
Noisegate 8, 2002?.

A very good contribution to the historical account; provides various details.

(g2.1)/ Szczulkun, Stefan: Exploding Cinema 1992-1999, culture and democracy. PhD (Royal
College of Art, London) http://www.stefan szczelkun.org.uk, 2002.

The section 1.02 contains an informative personal account of the author's time with the Scratch
Orchestra.

(g2.1)/ Trudu, Antonio: "Randbemerkungen zu Franco Evangelistis Schriften", Muenz, Harald

(ed.): "...hin zu einer neuen Welt. Notate zu Franco Evangelisti, Saarbrcken (Pfau) 2002.

P. 33: "1964 he was a co-founder of the improvisation group Nuova consonanza and wrote the
following: "It was perfectly clear to me that, taking variants of material as the basis, one could
also extend variability to the form: the open work, through which I came to GNIC, is an extreme
limit of Western music, but also a return to the origin". Quoted from Nuova Consonanza nel
mondo italiano oggi, in: Marcatr, no. 16, 17, 18, 1965, p. 231f.

(g2.1) /Velasco-Pufleau, Luis: "Rflexions sur l'improvisation et l'implication sociale de

l'ducation musicale. Dialogue avec Jean-Yves Bosseur. Critical Studies in Improvisation /
tudes critiques en improvisation, Vol 8, No 1 2012.
Interview of the "conversation" type with composer and musicologist Bosseur - see about his
works passim in the bibliographies. Among other issues, he quotes from a personal
conversation with throws the endeavours behind December 52 into relief by quoting opinions on
it by Boulez and Cage before the work was finished. It also appears that Brown intended to
break performers' habits by creating graphics he thought could not be interpreted in a
traditionally-sounding way.
There are further some remarks on the situation of improvisation and open works in French
higher music education and at festivals.

(g2.1)/ Wagner, Thorsten: "Improvisation als "weiteste Ausdehnung des Begriffs der
aleatorischen Musik". Franco Evangelisti und die Improvisationsgruppe Nuova Consonza",
Muenz, Harald (ed.): "...hin zu einer neuen Welt. Notate zu Franco Evangelisti, Saarbrcken
(Pfau) 2002.

About the legendary Italian improvisation group Nuova Consonanza. It was founded winter
1964/65 and was designed to consist solely of composers. In the group, musical works were still
cultivated, but open ones. From 1963 (La Scatola) till 1979 Franco Evangelisti did not compose,
because he was critical to restauration tendencies. He worked in these years with the
improvisation group and with pedagogical electronic music activity

(g2.1) Wagner, Thorsten: Franco Evangelisti und die Improvisationsgruppe Nuova Consonanza.
Zum Phnomen Improvisation in der neuen Musik der sechziger Jahre, Saarbrcken (Pfau),
2002.

This book focuses closely on the improvisation group Nuova Consonanza which was
established by Franco Evangelisti in 1964 and lasted until 1985. Free improvisation was a new
phenomenon of that time. A special characteristic of the group was that it consisted of
composers. 21 members other than Evangelisti were according to Wagner affiliated with the
group (during years stated between parenthesis), among which were: Larry Austin (1965),
Mario Bertoncini (1965-74), Walter Branchi (1966-75), Aldo Clementi (1965-66), John Eaton
(1965), John Heineman (1965-70), Roland Kayn (1965-67), Frederic Rzewski (1966), William
O.Smith (1965), Ivan Vandor (1965-67), Egisto Macchi (1968-), Giovanni Piazza (1971-), Jesus
Villa Rojo (1971-), Giancarlo Schiaffini, Antonello Neri, Alessandro Sbordoni (1977-).
 Franco Evangelisti viewed improvisation as the logical consequence of his compositional
activity, having arrived at the nescessity of letting the performes make choices of their own, and
he abandoned his former individual composition practise for working with the group. Members'
compositional activity is discussed. The group's way to practise is discussed, dealing with
exercises focusing on musical material and on reactions within the ensemble. On the
background of these, however, improvisations were carried out freely but, according to Wagner,
informed by specific idioms. Usually their duration was relatively short. Wagner undertakes a
number of graphic transscriptions of the group's improvisations (some of which are available in
reissue on the CD Ed. RZ 1009 from 1992). He employs an analytical vocabulary describing
phases of "Texture Games" (constituting phase - establishing phase - modification phase (not
always found) - dissolving or transformation phase) - and "Sound event categories" (imitating -
confirming/providing variation - modifying) (p.188f).
On the background of his analysis, Wagner conludes that the group's music is indeed a
consequence of Evangelisti's conception of aleatoric devices. These he cultivated, to be sure, in
opposition to Cageian indeterminacy. Therefore, free improvisation the Evangelisti / Nuova
Consonanza way involves a good deal of mental reflection, even if nothing is determined in
beforehand.
The book describes additionally a general music history context of the time, of which the
analytical remarks p. 48-50 about Chr. Wolff's compositions "Musik als sozialer Prozess" may
be especially mentioned here. Duo II, Duet Pieces, Duet II and For 1, 2 or 3 People are treated.

(g2.1)/ Watson, Ben: Derek Bailey and the Story of Free Improvisation, Sabon, Essex (Verso)
2004.

Biography. With a large index comprising many names and concepts

g2.1/ Watts, Trevor: Mail-correspondance with Trevor Watts, May, 2002. Please see the 1945-
1999 bibliography in which this item has been listed as a special exception.

(g2.1)/ Wilson /"Person [memories and obituaries concerning Peter Niklas Wilson]", MusikTexte
99, Dezember, 2003.

Contributions by many improvisors and others

(g2.1)/ Wilson, Peter Niklas: "Segen der Konzeptlosigkeit". das Berliner "Zeitkratzer"-Ensemble,
MusikTexte 93, Mai, 2002.

(g2.1)/ Wilson, Peter Niklas: "Neue Paradigmen in der Improvisierten Musik. Ein Vortrag beim
Achten Darmstdter Jazzforum", MusikTexte 99, Dezember, 2003.

Deals with forms of improvised music which are not connected to jazz and with "reduction" as a
keyword with improvisors Burkhard Stangl and Andrea Neumann et al.

(g2.1)/ Wilson, Peter Niklas; Polaschegg, Nina: Bildende Kunst und improvisierte Musik,
MusikTexte 103, August, 2004.

G2.2 STOCKHAUSEN

(g2)/ See also Jahn (2006;E2); Hintzenstern (a2.2);

(g2.2)/ Bergstrm-Nielsen, Carl: Fixing/Circumscribing/Suggesting/Evoking. An analysis of

Stockhausen's text pieces.
VBN (Aalborg University), 2006.
Analytical examination of the 31 pieces in Stockhausen's work collections. Close attention is
given to the different degrees of precision or directness employed by the composer in
describing the musical material. Such degrees were worked out by the composer on the
background of serial principles. This repertory thus allows the improvising musician to choose
according to his liking how "down-to-earth" or not the playing process should be.

(g2.2)/ Bergstroem-Nielsen, Carl: "Das bekannte auszuschliessen". Stockhausens "Intuitive

Musik" und ihre Auffhrungspraxis". MusikTexte 118, 2008A. P.63-66.

(g2.2)/ Bergstroem-Nielsen, Carl: "Stockhausen - Improvisation - Musikgeschichte. Gedanken

anlsslich des Todes von Karlheinz Stockhausen am 5.12.2007". Ringgesprch ber
Gruppenimprovisation LXXII, April 2008B, p.38-40.

(g2.2)/ von Hintzenstern, Michael: "Die Kreativitt des Augenblicks", in: Stevens, Suzanne;
Pasveer, Kathinka (Hrsg.): Gedenkschrift fr Stockhausen. Stockhausen-Stiftung fr Musik,
2008, p.73-75.
About Ensemble for Intuitive Music Weimar (Ensemble fr Intuitive Musik Weimar) founded
1980, its organisational endeavours and fights for organizing concerts with Stockhausen
intuitive music pieces in the German Democratic Republic against the official cultural politics
which were nevertheless successful to a large extent; and its relation to Stockhausen.

(g2.2)/ Saunders, James: "Commentary: RIGHT DURATIONS", Lely, John; Saunders, James
(ed): Word Events. Perspectives on Verbal Notation. New York (Continuum), 2012, p.362-365.
Drawing on the available sources in English language, Saunders succeeds in providing an
excellent general introduction to Stockhausen's intuitive music in general and to the specific
piece in particular. A facsimile of the piece from the English edition precedes the article.

(g2.2) / Toop,Richard: "Versuch, eine Grenze zu berschreiten... Johannes Fritsch im Gesprch

ber die Auffhrungspraxis von Werken Karlheinz Stockhausens", MusikTexte 116, Februar
2008.
This interview with Johannes Fritsch, who as a musician worked closely together with
Stockhausen, provides a useful overview of new forms of performance practise in
Stockhausens works: Mikrophonie I and II in which some performers solely operate
microphones and in which various shades of noise are prescribed verbally, to be produced with
found materials on a large gong; Mixtur, in which two musicians have the sole job of operating
sine wave generators (for ring modulation of ensemble sound); Momente, in which choir singers
freely interpreted humurous instructions such as for instance "like an old witch" or "like a baby";
Prozession, Kurzwellen and Spiral with the plus-minus notation and use of short-wawe radios;
Hymnen, in a version with improvising soloist; Solo for melody instrument with electronic
feedback in which - like in many other cases - Stockhausen had the role of sound projectionist,
modifying and filtering the output from microphones and machines; Aus den Sieben Tagen
(From the Seven Days), the interviewee's view of the recording practise then and details of the
collaboration with Stockhausen.
All this is a good example of how new use of instruments, new notations and new electronic
devices are interweaven - including, but not limited to, the notion of improvisation. Such
outlining of performance practise from a general point of view is still a rich field for further
investigations, dealing with the fundamental practical side of music creation.

G2.3 ZORN

(g2.3)/ Brackett, John: Some Notes on John Zorns Cobra. American Music, Vol. 28, No. 1
(Spring 2010), pp. 44-75
The game piece Cobra has had a remarkable success - among other things, according to the
author, it is "routinely played by students in colleges and universities all over the world" (p. 44). -
This article attempts to reconstruct, as fully as possible, the actual instructions given to
musicians which Zorn did not wish to publish. It comments also on the history of previous such
more or less official publications, however, without mentioning Slusser which also attempts to
explain the rules from scratch. Also the coloured version of the score must be sought for
elsewhere, for instance in Slusser's two renditions (Slusser([2008]);g2.3) and Zorn 1984;g2.3),
or in the CD cover of Zorn(1991;i1). But this reconstruction seems to be the most detailed one
hitherho.
Other parts of the article deal with the war games which inspired Zorn, with recordings of
Cobra, with the other game pieces before and after Cobra. And with the remarkable integration
of very different social roles unfolded by the musicians. A quote in a direct transscription from
the same source as Bailey (g2.3;) reads: "What I basically create [in the game pieces] is a small
society and everybody kind of finds their own position in that society. It really becomes, like, a
psychodrama. Its like scream therapy, or primal therapy. People are given power and its very
interesting to see which people like to run with that power, which people run away from it [and]
who are very docile and just do what theyre told [and those] who try very hard to get more
control and more power. . . . Its very much like the political arena, in a certain kind of a sense . .
. [where performers] are having a little carrot dangled in front of them. And its interesting to see
who tries to grab the carrot and who doesnt. And a lot of times the people who try to grab the
carrot, its pulled out of their hands by someone else in the band. So, it becomes kind of a
scary, frightening thing to be in front of that band to see these people blossom and become the
assholes that they really are" (p.56). One may supplement this with a few sentences from Bailey
(g2.3;1992): "Bill Frisell is the kind of player who sits back and lets everybody else make
decisions and just plays his butt off. Ultimately he was the one that was making the sound of the
music while other people were dealing with the structure of it. Those are all valid positions to be
in in the society that exists on stage..." (p.78).

(g2.3)/ Roussel, Patrice: Discography of John Zorn. 2000.

http://www.wnur.org/Jazz/artists/zorn.john/discogr.htm
Contains a bibliography as well, and list of videos.

(g2.3)/ Slusser, David: Cobra Notes. [2008 or later according to archive.org accessed May 22
2015.] http://arvidtp.net/bnm/cobra-score/cobra%20notes,%20Slusser.pdf Accessed May 20
2015. [Previously http://www.4-33.com/scores/cobra/cobra-notes.html].
Score and verbal explanations
G2.4 EARLE BROWN'S DECEMBER 1952

Be sure to see also the first bibliography until 2000. See also Bivre (2012;H1)

G2.5 WOLFF

See also Wagner (2002; G2.1)

(g2.5)/ Chase, Stephen; Thomas, Philip (ed.): Changing the System: The Music of Christian
Wolff. Ashgate, 2010.

This book testifies to the continued and growing interest in Wolff's special form of indeterminacy
in which he introduced the cue practise making performers dependent on each other. The
following is my selection of points of special interest connected to new notations and their
performance practise,

Pp. 193-209 by Clemens Gresser is an analysis of Prose Collection, a collection of verbally

notated pieces, most of which were written between 1968 and 1971. The reader may well wish
to have the collection at hand during reading. The existence of a freeware online edition is not
mentioned in the book, but you can find one at
http://www.frogpeak.org/unbound/wolff/wolff_prose_collection.pdf or
http://www.intuitivemusic.dk/iima/cw.htm . First part of this text deals with general issues around
how misunderstandings of such open works may occur, due to decisions having been left to the
performer. Subsequent sections are titled "performing", "listening" and "Conclusion: blurring the
Function of Listener and Performer".

P.25ff, Amy C. Beal describes, on the basis of transscriptions and additional sources, how Wolff
discussed and explained about his work Burdocks (1971) at the Darmstadt 1972 Summer
Courses. James Saunders also comments the work pp 93-95. [Burdocks is listed as an A1 work
in the old part of the present bibliography with additional references].

During pp 60-67, Philip Thomas deals in details with For Pianist (1959), with 4 illustrations.

The reader may find additional relevant information and thoughts thoughout the book.

(g2.5)/ Wagner, Christoph: "Zwischen zwei Sthlen" (also English version), booklet to Wergo
WER 6658 2, Christian Wolff. Bread and Roses, 2003.
This is a brief interview which nevertheless provides important information on Wolff's Edges
having been inspired by the English context (AMM and Cardew) and his relation to
improvisation.

(g2.5)/ Wilson, Peter Niklas: "Neue und alte Spiele / New and old Games", booklet to Wergo
WER 6658 2, Christian Wolff. Bread and Roses, 2003.
General presentation focusing on one of the works featured on the CD (in 10 different takes!):
For 1, 2 or 3 people.
G3 GENERAL PHILOSOPHY, AESTHETICS, MUSIC THEORY AND MUSIC ANALYSIS

(g3)/See also: Borgo (2005;G1.1); Wagner (2002;G2.1); Lely et al (2012; A2.2); Nanz (G5;
2011); Adrian (F2; 2012); Overgaard (2011;G5); Bivre (2012;H1)

(g3)/ "Med eller uden kaos", Dansk Musiktidsskrift 6, marts, 2002/2003.

About the festival Stockholm New Music 2003 which focuses on composing musicians and
composers who are musicians themselves. "You have to see the musician as an artist and not
just as a tool", Ivo Nilsson stated (p.201). The entailing discussion is summarized.

(g3)/ Bergstroem-Nielsen, Carl: "Sound is multi-dimensional. Parameter analysis as a tool for

creative music making" - http://vbn.aau.dk/da/publications/sound-is-multidimensional_40caf3f0-
b690-11db-8b72-000ea68e967b.html (pdf version),
http://www.intuitivemusic.dk/iima/cbn_multi.htm (HTML version), 2006.

33 pieces for improvising ensemble based on the author's teaching at Aalborg University,
Denmark. Compositions were created as part of the training in improvisation and formulation of
playing rules. They employ selected global parameters, allowing participants to play from the
score in a heterophonic manner. Verbally prescribed parameter changes and graphic/pictorial
illustrations are further characteristics. Additionally, history and theory of parameter analysis is
accounted for.

(g3)/Chase, Stephen Timothy: Improvised Experimental Music and the Construction of a

Collaborative Aesthetic. PhD, Dep.of Music, University of Sheffield, 2006. The author may be
contacted through my mail here - I'll forward.

This work traces connections between historical conceptions of composition, the idea of the
musical work and freely improvised music, and it further discusses musicians' attitudes by
referring to theories about democracy in order to understand how individual impulse is
connected to a collaborative aesthetic by a common consent.

The term "Improvised Experimental Music" was chosen to designate the historical affinity to
composed experimental music - free improvisation has, among others, a background in
ensembles of the 1960s where Cardew and other composers were active, and it places value
on concert performances: "IEM is not a commercial or formally a 'functional' area of music
making, and therefore its participants locate its value for them by appealing either to art status
(usually) shown through the medium of performance) or to the seemingly more modest area of
communal aesthetic activity" (p.81f).

The "performance-driven" musicians' view stresses musical ideals and the responsibility
towards the audience. Statements by Eddie Prvost and John Tilbury are commented on as
exemplifying this view. The "play-driven" one is more concerned with the excitement of the
immediate activity: "It's that word play. You know, one of the things I talk to the students here a
lot about is...'What do you do? You say you play music, what does play mean?'...I think most
people actually work music" (Hugh Nankivell quoted on p.104).
"What differentiates improvised music from most other practises in its challenge to the work
concept is its basis in collaboration", the author states p.79. He takes up the observation made
by American philosopher Stanley Cavell: "in art... your invitation is based not on power or
authority, but on attraction and promise..." (Cavell quoted p.111). This is also the situation for
political initiatives within a democratic system. The author extends this line of thought to the
audience's role. As traditional ways of evaluating the music are absent, the bond of commitment
between musicians and audience has to be created not through recognisable styles but, in the
terms of Gritten, by demonstrating 'authenticity' and 'sincerity'. Relating this to improvised
music, the author sees the former as a notion that might only be relevant in improvised music
under the special circumstance of knowing a performers 'sound' in beforehand (p.115), and he
interprets 'sincerity' in relation to performers' intentions as perceived by the audience members.
Different organic, or oppositely stylised or self-conscious approaches may, generally, belong to
the strategies of "suspending an audiences' sense of disbelief" (p.116). There must be a 'social
contract' in Cavell's sense: "...not mere obidience, but membership" (quoted on p.119). More
recent writers (Laclau and Mouffe, as well as musicologist Leonard Meyer) have stressed the
'irrational' element in democracy (p.110), employing an 'agonistic" model (p.121). In Meyers'
words, "ad hoc judgements" can be made, to which the author comments that "democracy is
useful politically...because for a diverse collection of people to agree entirely on one
overarching systematic approach is close to impossible and, potentially, dangerously inflexible"
(both quotations from p.122). The following quotations illustrate further the points made by the
author. The first one is about the kind of agreement that has to exist before playing: "X agrees
to perform with Y because X knows that Y will play in such a way that complements what X
plays; and Y know that X will not set fire on Y's cello" (p.121). The second concerns the active,
both critical and creative role demanded by the musician: "The individual is impelled to find a
way in which to make the music work as the effort of an ensemble by deciding to support the
'wrong' idea, or transform it or reject it by replacing it with an altermative" (p.123).

Last chapter before the concluding one is a series of analysis of some of Eddie Prvosts'
weekly open London improvisation workshops (see also Prvost (2011;G1.1).

Clment Cannonne: Focal Points in Collective Free Improvisation. Perspectives of New Music
51 (1), Winter 2013.
Free improvisors cultivate special cognitive skills. The theoretical field known as game theory
studies coordination issues among humans working together. A classic example is a telephone
conversation being interrupted - both parties then face the same choice: shall I call back or wait
for the other to do so? The problem arises out of too many possibilities to choose from. People
will in such situations try to guess what the other might do. If there exists a cognitive salient
strategy for both parties, this can be named focal point. Musicians practising Collective Free
Improvisation (CFI) are all the time faced with similar-typed coordination challenges.
The author conducted empirical experiments aiming at tracking a specific, assumed "saliency"
competence related to the issues mentioned above. In the first experiment, solo improvisors
were to improvise along with a recorded background. This background was relatively
homogeneous, but with some strongly diverging material suddenly appearing once. Results
showed that "expert subjects" trained in CFI more often than the others drew formal implications
from the incident.
The second experiment was about a group improvisation. Musicians were placed in different
studio booths so as not to be able to see each other. They heard three different music samples
in their headphones and they had been informed that the order of these playbacks were not the
same for each musician. Then they were to start improvising simultaneously, using one of the
samples as a point of departure. Subsequent interviews showed that "expert musicians"
employed "team reasoning" (relying on identification with the group) to a higher degree and
more explicitly than the others. Also, that there were no marked difference between novices of
FCI coming from classical and jazz fields. In jazz settings there is improvisation, but usually
there is a referent (a standard or a composition) to solve coordination problems, the author
reasons.
Both findings explain, the author asserts in the conclusions, why "improvisations of CFI's
experts are almost always more successful from a formal point of view (p.30)". Also, that studies
in CFI "can help us to shed a light on non-musical phenomena, such as everyday life, where the
ability to solve multiple unexpected coordination problems could very well be soncidered as an
improvisational capacity".

(g3)/ Dudda, Friedrich: Konkrete Phantasie - Reflexionsmodi in der konzeptionell-

experimentellen Musik. Ringgesprch ber Gruppenimprovisation LXXIII, April 2010. Thema:
Improvisation zwischen Reflex und Reflexion. P.4-8.
This author practises open compositions as composer and musician. He argues that
improvisatory fantasy and creativity should not shut out clarity and precision on the levels of
compositionally defining the music and that of playing.
He makes other points as to the importance of taking a clear stand to aesthetic issues. when
the musical universe relates only to itself and takes no notice of other music universes, it
becomes endangered by degeneration and stiffening into cliches. The author sees such a clich
in the opinion that improvisations should follow or have to follow an arch form as to crescendo -
climax - decrescendo. Inspirations to a different approach could be taken from both Debussy
and Stockhausen who created music in independent eposodes that are easy to combine with
each other. Another issue inviting critical reflection is the composer Lachenmann's warning
against naively using elements from classical music out of its context. Still another is composer
Nicolaus A. Huber's warning against music production which may be authentic seen on its own
background, but which has no profile in the surrounding music culture - those who take interest
in culture around them may find such music uninteresting. - Finally, there is a short discussion
on reflecting on the relation between music and life.

(g3)/ Ehrler, Hanno: "Musik im gebogenen Raum. Der Leipziger Musiker und Komponist Erwing
Stache", MusikTexte 92, Februar, 2002.

In characterizing this composer, reference is made referring to Fritsch (1997;G3) among others.

(g3)/ Engstrm, Andreas (ed.): Special issue on improvisation, Nutida Musik 2, 2005.

(g3)/ Fischlin, Daniel; Heble, Ajay (ed.): The Other Side of Nowhere. Jazz, improvisation and
communities in dialogue, Middletown, Connecticut (Weslyan University Press) 2004.

This book includes contributions from speakers and musicians who have participated in the
Canadian Guelph Jazz Festival (near Toronto). Scholars from USA, however, also play an
important role, and main emphasis is on Cultural Studies from a black perspective.
Contributions are grouped in four categories: Performers Improvise - Between and Across
Cultures - Social Practise and Identity - Collaborative Dissonances. George Lewis is professor
of "Cultural Studies / Experimental Practises Area" at San Diego University (UCSD) which
seems to have become a center for improvisation studies. His "Improvised Music after 1950:
Afrological and Eurological Perspectives" is reprinted with a newly written afterword
commenting "...The Changing Same". In an article by the editors bearing the same title as the
general title of the book, Stephen Nachmanovitch and Tom Nunn are adressed critically: "... in
their haste to promulgate arguments about improvisation as a life-strategy for expressions of
individuality, originality and creativity, they fail to account for the ways in which jazz
improvisation and creative improvised music have always.. been about community building
(rather than individual self-expression), about fostering new ways of thinking about, and
participating in, human relationships (p.23). An article by Julie Dawn is devoted to the Feminist
Improvising Group in the London seventies, making apparent the historical background of the
later well-known trio Les Diaboliques with two of the former members - Maggie Nicols, Irene
Schweizer plus Jolle Leandre. Eddie Prvost who is the only participant here from Europe,
recalls the ciscussions during the seventies with Cornelius Cardew and expresses a sceptical
opinion on using music "to help fly a political banner" (p.356) and advocates instead a general
critical attitude to market conditions which make it difficult to develop in any larger scale the idea
of responsible teamwork taking place in improvised music. - The book includes short
biographies of contributors and a large bibliography of roughly 500 titles, plus a "webography".
Contributors other than those alredy mentioned: Ingrid Monson; Michael Snow; Pauline
Oliveros; Dana Reason; Jason Stanyek; Michael Essen; Mark Anthony Neal; Sherrie Tucker;
Marshall Soules; Krin Gabbard; Michael Jarrett; Nathanael Mackey; John Corbett and Benjamin
Lefebre.

(g3)/ Funk-Aydemir, Roswitha: "Gut hren, frei spielen. Kurse freie Musik in Kassel",
Ringgesprch ber Gruppenimprovisation LXXI, Oktober 2006.

At the end of this report from a workshop with Rike Kohlhepp and Thomas Reuter, examples of
pre-forming of improvisations done by agreeing on a few characteristics are stated. This is a
greyzone area between composition and improvisation worthy of much more study.

(g3)/ Granum, Mathias Halgrener: Fri improvisation i grupper. Sammenspil, samarbejde og

gruppedynamikker. En empirisk undersgelse. Kandidatspeciale i musikterapi, Aalborg
Universitet, Juni 2010. With an English summary. http://projekter.aau.dk/
An empirical study concerned with questions related to how satisfied participants are with free
improvisations and what lies behind. One of the methods of measurement was to play a video
recording for participants immediately after playing in one minute sequences. Participants were
then to indicate how satisfied they felt at that point. Resulting graphs (p.24f) show vivid
differences in many cases, and disagreement appears as the normal situation, even if
participants' overall rating may be similar in come cases. The author remarks (p.25) that it
seems one will have to ask all participants about how they were satisfied with a given
improvisation, if one is to have a precise impression.

(g3)/Grossmann, Cesar Marino Villavicencio: The Discourse of Free Improvisation. A Rhetorical

Perspective on Free Improvised Music. PhD, University of East Anglia, Norvich, UK, 2008.
Available online at www.bl.uk (without the sound files)

Musical rhetorics, such as were cultivated in Baroque music, are re-evaluated for describing
free improvised music. A variety of concepts are presented and references made to recordings
and to a few conducted workshops. For the present reader, however, the general useability is
unclear - descriptions appear rhapsodic, like a catalogue of ideas. It could have been interesting
to see concepts like 'kairos', 'prolepsis', the general categories of 'decorum' and that of ethics,
connected to a general discussion of free improvised music - providing thorough information on
how to both understand their meaning and to practically apply them in the new context. This
might yet remain the task of other specialist researchers. Perhaps the list of 'vices' - categories
covering "bad behaviour" (p.153ff) - is the most transparent. It includes 'battologia' ('vain
repetition' - maybe "Cliche") - 'bomphiologia' ('exaggeration done in a self-aggrandising
manner') and still others.

In the introductory exploration of background, Various sidelights fall on free improvised music
and postmodernism, on youth rebellion phenomenons after second world war, and there are
some brief comments on the sign language of Butch Morris.

One observation, loosely connected to the rhetorics theme but nevertheless valuable, is the
author's account of his own experience with playing Berio's "Gesti" for recorder. As the author's
description suggests, the piece proposes a number of new techniques to be employed and at
the same time provides choices and freedom from a fixed scheme through a graphic score.
"Performing FIM [Free Improvised Music] is also the time of learning...we should think about the
fact that knowledge is accumulative and that it depends on memory", it is stated (p.44). This
seems the perfect counter-story to the one of Globokar - one unsuccessful piece lead to his
much quoted dogma about composition and improvisation being different methods that should
not be mixed - see Levaillant (G1.1; 1981). One can learn and get new ideas ideas from
composers' propositions (like Derek Bailey also did from Webern), and thus they function in a
similar way to the exercises many improvisors keenly do. Like improvising demands much
attention to fellow players, so playing an open composition demands attention to the materials
and structures presented. This could in a similar manner be an occasion to look into new
possibilities and their immediate, free use. So there is hope for combining the two methods.

(g3)/ Hodginson, Tim: "A rich field of possibilities: strategies and indeterminacy in free
improvisation", Resonance 8,1, 2000.

The possibilities arising is a part of the improvising process, even when they do not come to
use. Good essay on aesthetics.

(g3)/ Irmer, Christop: "Das Verhltnis von Musiker und Publikum in etischer Hinsicht",
Ringgesprch ber Gruppenimprovisation LXXXVI, April 2013, p.5-7.
A statement by Vinko Globokar from 1976 is taken up critically: "... I regard improvisation as a
purely private process which can only be of importance for the players' innder development and
at which the audience can only be present as a witness" (see Globokar (1972;G2.1). This is
seen as a self-sufficient attitude and contrasted to a quotation by Malcom goldstein who
appreaciates the aspect of sharing the experience with other people. The author then develops
the idea that improvised implies a more direct perception of the musicians' human prescence by
the audience than do performances of written works. This idea is based on phenomenologically
oriented philosophers Fischer-Lichte, Waldenfels, Lvinas (Merleau-Ponty and Derrida are also
mentioned in the background).
One point to be observed from this is that the musical and the general appearance ot the
musicians' body may interfer ("semiotic body" and "phenomenal body" according to Fischer-
Lichte). Another point is (following thoughts from Lvinas) that the concert situation implies
empathy and closeness. And there is a mutual witnessing of each other, also between
individuals in the audience. This state of affairs is seen as the basis for a social order, a ritual
which stabilises the situation and prevents too much closeness. The applause ritual is an
example - it can be formal or more spontaneous, but within the limits of the ritual.

(g3)/ Jacob, Andreas: "Der Gestus des Improvisatorischen und der Schein der Freiheit", Archiw
fr Musikwissenschaft 66 (1), 2009.
Carl Philipp Emanuel Bach advised pianists to abandon habits: "...Fantasies... do not consist
of passages learnt by heart nor of thoughts stolen from others. They musc spring from a good
musical soul - the declamatory quality and the fast surprising moves from one affect to another."
This could sound close to the modern notion of "stream of consciousness". Passages by CPE
Bach and by Francois Couperin are quoted with illustrations and discussed. The examples
given could be viewed as early examples of consciously open works, since they abandon exact
metre and bar lines, precisely in order to become more lik eimprovisations. Music by Mauricio
Kagel and John Cage are in turn commented on. Reference is made along the way not only to
old authors like CPE Bach and Brossard (Dictionnaire de la musique, 1705), but also to more
recent authors on the subject of improvisation. Among others, Ferand , Bailey, Dahlhaus and
Feisst - summary of works of these to be seen in this bibliography's two volumes.
Author's own summary reads as follows: "For various aesthetic reasons, it may be attrative for
composers to adopt a "gesture of improvising" to display an attitude that feigns improvisation or
spontaneous musical action. Examples taken from the seventeenth and eighteenth centuries,
as well as from music of the last fifthy years, illustrate some of the procedures of and
motivations for this ostensible immediacy. Noteworthy aspects include the conscious
presentation of freedom when creating music, the demonstration of contingencies surrounding
the musical process, but paramount and preceding any musical action, however, is the
confrontation with music's materiality, which brings to the fore the moment of the creative
beginning in music"

(g3)/ Ksterke, Doris: "Was ist Qualitt?", ringgesprch ber gruppenimprovisation LXVII, juni,
2001.

Considerations taking as their basis the novel by Pirsig, Zen and the Art of Motorcycle
Maintenance. Quality lies in the relation between the beholder and the object.

(g3)/ Lange, Barbara Rose: "Teaching the Ethics of free improvisation". Critical Studies in
improvisation vol. 7 nr. 2, 2011.
Ideals of equality are often cherished by improvisors. Cardew (1971; G3) views this issue in
the context of phiolsophical ethics. However, how can they be realised in an educational setting
based on the teacher's authority? The author raises this issue and discusses it in relation to a
community ensemble in Houston, USA. One example of attempting to open for dialogue and
participant's choices in teaching is quoted p.5. Statements from participants are quoted and
summarised which describe the friendly, yet also serious atmosphere. This is, so the author
assumes, why some of them came to feel less afraid of the urban neighbourhood in question.

(g3)/ Lind, Rikke: "Improvisation". Klassisk musik. DR's magasion om livet i musikken og
musikken i livet, nr. 5, maj, 2003.

Harpsichordist and conductor Lars Ulrik Mortensen deals with improvisation in earlier times and
in music history and states that historic music practise has re-established improvisation and in
so doing made it possible to have more improvisation teaching at conservatories.

(g3)/ Linnros, David: "Stndigt flde - improvisationen och skandet efter friheten", Special
issue on improvisation, Nutida Musik 2, 2005.

Resaon and Nature may appear as enemies, reason having become totalitarian and one-sided -
according to Adorno/Horkheimer. Friedrich von Schiller, who built on ideas from Kant, asserted
that sensibility cannot be simply subsumed under reason. Solely when they interact, humans
can realize their potential: "Only when [the human being] changes, it EXISTS, only when it
remains unchanging IT exists", says Schiller. So, "without form no matter, without matter no
form". Applying these reflections to music, the author concludes that the concepts of
improvisation and composition represent abstract principles, hence they are not very
informative. Therefore, he recommends that discussion be focused on the actual potentials and
limitations of the music in question.
(g3)/ Lucier, Alvin: "An einem hellen Tag. Avantgarde und Experiment", MusikTexte 92,
Februar, 2002.

Critique, among other things, of a practise of playing cue-music by Wolff from fixed versions.

(g3)/ Lundman, Tony: "Med eller uden kaos", Dansk Musiktidsskrift 6, marts, 2002/2003.

About the festival Stockholm New Music 2003 which focuses on composing musicians and
composers who are musicians themselves. "You have to see the musician as an artist and not
just as a tool", Ivo Nilsson stated (p.201). The entailing discussion is summarized.

(g3)/ Prvost, Edwin: Minute Particulars. Meanings in music making in the wake of hierarchical
realignments and other essays, Wiltshire (Matchless Recordings and Publishing), 2004.

This is the second book by Eddie Prvost, well known drummer of the British improv scene,
workshop leader and director of Matchless Records.

Whereas the author's first book, No Sound Is Innocent, ((1995;G3) in the 1945 99 bibliography)
took its focus from the playing situation, this one comments on tendencies in music life. The
central keyword appears to be communitarism.

This, the author points out, was central to jazz from its early stages and still an unchallenged
vital principle for early European improvised music.

Earlier, in 1927, Louis Armstrong, already in a star position, nevertheless recorded with "Hot
Five" in a very collaborative way. At the same time, Anton von Webern worked with his Trio
opus 20 and did away with hierarchical tonality, a form of democracy taking place on a symbolic
level only, but nevertheless utopian. There was an open window to less authoritarian music
practise in both fields. "The days of the concerto were not over and the star soloist in jazz had
hardly begun" (p.17). One may wonder at the fact that "The heroic figures of the lonely painter,
composer, poet or rock guitarist still dominate our popular sense of creative genius. No
equivalent place of honour has been found for the highest order of collaborative activity" (p.17).

However, according to the author, communitarism became challenged by the ideas of John
Cage of letting sounds be just sounds. This could serve as an excuse for solipcist playing,
without listening to or interacting with each other. Sudh attitudes are, still according to the
author, widespread among laptop playing musicians, also when they practice sampling
technology.

To be sure, the author values Cage's historic contributions having the effect "to get musicians to
loosen up in their relation to the music making materials" (p.107). But his ideal on the role of
chance is rather described as of making the "correct mistakes" (p.107). This is to be understood
in relation to an anecdote about Thelonius Monk who was once dissatisfied with a performance
in which he had "made all the wrong mistakes" (p.101). So, for Prvost, chance is meaningful
especially in its dialectical relation to intentionality.

The author also deplores the development of indeterminate music into "intellectual property" of
solely the composer, after having credited it for suggesting "a new social site within music
making" (p.36), giving musicians equal rights and responsibilities. He also sees a one sided
focus of historical interest on such works from the sixties as a danger. If musicians, however,
create their own indeterminate scores, this "would perhaps force them to examine what it is that
they find lacking in other more formal compositions. It would also stimulate aesthetic cultural
questions" (p.72).

Among additional issues critisized is reductionist aesthetics. "Moments of significant silent

serenity" cannot, according to the author, be isolated from the communitarian and processive
flux where they arise (p.38). Also he critisizes the label "non idiomatic" music, coined by Derek
Bailey, in its use as a general characterisation of free improvisation, for underplaying "the
individuality and the uniqueness of a musician, or group of musicians, that is one of the most
cherished aspects of free improvisation" (p.14).

A second section of the book gathers together mostly various previously published materials.
This section can be hard to read because one must in some cases know the context. For
example, John Zorn is critisised in two of the chapters, and only in the second one it becomes
apparent that this has to do with "revival" efforts which are, however, not described in further
detail.

The writing style of the book is rhapsodic, viewpoints being often repeatedly stated when taking
up new examples at various points in the discourse. The strength of this is the immediate
feeling of being in the company of the author speaking. A drawback seems to be that issues
brought forward are eminently such ones that need to be discussed within a wider field of
musicians. It could be an idea for possible further writings to have co-authors with adverse
opinions.

It cannot be overlooked that there is a pessimistic tone throughout the book. If one reads it as a
manifesto or a pamphlet it may appear conservative, seeing no hope at all in newer
developments such as the use of laptops and sampling.

However, "The validity of this activity will be assessed ultimately by how resonant the responses
are to these texts, even through many of my theses may come to be modified by myself or
crucified by others" (p.3), we are told in the introduction. So go ahead and discuss with the
author!

Prvost, Edwin (Eddie): "Free improvisation in music and capitalism: resisting authority and the
cults of scientism and celebrity", in Saunders, James (ed.): The Ashgate Companion to
Experimental Music (Ashgate), 2009, pp.131-144 (=Saunders (2009;G5)
Prvost's basic thoughts seem to have found their hitherho most concise form on 13 pages
here. The summary by James Saunders goes (p.3), with a comment after the semicolon:
"Prvost argues that the collaborative nature of music exploration is not fully acknowledged
through the process of writing scores, of fixing sounds and their innovative techniques of
production. The result of this appropriation of sound by composers is an embedded capitalism
within music: it is perhaps a notion which defines a more chronological avantgarde, where as
Philip Cornes suggests ' You already see where the great tradition of Western culture is
supposed to go; who's the genius who will get there first' ".

(g3)/Sansom, Matthew: "Improvisation and identity. A qualitative study". Critical studies in

improvisation /tudes critiques sur l'improvisation, vol.3, no. 1, 2007.

On the basis of musicians' comments to video recordings of their own playing, the author
describes various "continua": Musical Object, Heart/Mind, Body, Instruments, Partner and
Environment. Cases are described, and Julia Kristeva's views of how meaning emerges is
pointed out as relevant for understanding the "self-invention" process (Prvost) of free
improvisation. According to her, there is a tension between social restraints and disruptions of
the order they represent. This makes parody, irony, innovation, creativity and revolution fruitful
areas of study. - See, however, the author's PhD Sansom (1997; G3) with more details and a
theoretical model which is not mentioned in the article.

(g3)/ Scheib, Christian: "Filter, Struktur, Speicher. Improvisation: Aktuelle Momentaufnahme aus
einer Zwischenwelt in einer Zwischenzeit. Fallbeispiel sterreich", in: Neue Zeitschrift fr Musik,
Heft 3 (Juli/August) p.18-21, 1999.
Article which inspired Peter Niklas Wilson by looking beyond the opposition of composition /
improvisation.

(g3)/ Schwabe, Matthias: "Musik von der Quelle. ber musikalische Qualitt im Allgemeinen
und improvisatorische Qualitt im besonderen", ringgesprch ber gruppenimprovisation LXVII,
juni, 2001.

The author makes reflects thorougly on the issue of musical quality with empirical descriptions
as the starting-point. Sounding together and playing together are concepts describing essential,
specific characteristics according to him.

(g3)/ Schneider, Hans: "Klangnetze oder Kunst als Erfahrung der Horizont-Erweiterung und der
eigenen Vernderbarkeit", in: Schneider, Hans (Hg.): Klangnetze: ein Versuch, die Wirklichkeit
mit den Ohren zu erfinden, Saarbrcken (Pfau) 2000.

Touches upon the issue of improvisors dealing with combining their own worlds with the
multitude of what is outside of it.

(g3)/ Stangl, Burkhard: "Schall, Schrift und Schallschrift", in: Schneider, Hans (Hg.): Klangnetze:
ein Versuch, die Wirklichkeit mit den Ohren zu erfinden, Saarbrcken (Pfau) 2000.

Deals with various aspects around writing, "orality" and media.

(g3)/ Stryi, Wolfgang: "Ein Garant fr die Intensitt.. Heiner Goebbels im Gesprch". Special
issue Improvisation, MusikTexte 86/87 November, 2000.

(g3)/ von Kieseritzky, Herwig von: "Zwischen Alltagserfahrung und sthetischer Vermittlung.
Musikalisch-szenische Konzepte - berlegungen und Beispiele". Bidrag til
"Themenschwerpunkt: Improvisieren nach Konzepten", ringgesprch ber gruppenimprovisation
LXVIII, juni, 2002.

This is a good treatment of the intermidiary area between composition and quasi nothing - that
is, agrements made by improvisors. An important issue which has not yet had the amount of
focus it deserves.

(g3)/ Wilson, Peter Niklas: "Rekonfigurationen. Komposition und Improvisation", MusikTexte

86/87 november, 2000.
On the greater visibility of improvisation in concert life in recent years. Good, full discussion of
form concepts, with interesting quotations from musicians. On well-known indetermination
aesthetics within new music as a sign that opposites are becoming relative. A fine summing up
of this authors' insights till now.

(g3)/ Wilson, Peter Niklas: "Tendenz zur Kanonbildung", ringgesprch ber

gruppenimprovisation LXVII, juni, 2001.

An attempt to describe the norms and expectations concerning freely improvised music.

G4 PSYCHOLOGY

(g4)/ Eikmeier, Corinna: "Ist Spontaneitt ein Reflex?" Ringgesprch ber

Gruppenimprovisation LXXIII, April 2010. Thema: Improvisation zwischen Reflex und Reflexion.
P.13-16.

Moshe Feldenkrais is the author of a training method aiming at freeing the body from
inappropriate tension. According to him, spontaneity is characterised by the ability to act with
ease and no inhibition. In human existence, not only reflexes proper but, to a high degree also,
automated habits determine our behaviour. While a large number of habits are useful to us, it is
however commonly found that some movements are not well adapted to their purpose and may
involve unnescessary tension. There is a contradiction between what different muscle groups
try to do, yet this state may easily remain unnoticed, because it has become automatic. The
author quotes from Feldenkrais: "When you know what you are doing, you can do what you
want". The reverse could also be true: "If you do not know what you are doing, you cannot do
what you want".
It follows that musical habits should be examined consciously. This could happen through a
self-questioning related to playing. As, however, situations in improvised music require fast
action without time enough for always maintaining such attention and reflection, exercises are
also recommended. These may be based on limitations, in order to learn to use a given
situation with more invention and go beyond habits.
This article appeared in an issue of Ringgesprch with the title "Improvisation between reflex
and reflection". See also Gagel (2010; G4) who, interestingly, arrives at a very similar
conclusion on a different background.

(g4/) Gagel, Reinhard: "Der schpferische Moment: Alles ein Reflex oder...?" Ringgesprch
ber Gruppenimprovisation LXXIII, April 2010. Thema: Improvisation zwischen Reflex und
Reflexion. P.9-12.
Improvisation functions well when the "self" is in charge, not rational consciousness. This
"self" is a "subliminal consciousness". Rational consciousness is around half a second behind
events before it can act, according to empirical measurement. Danish football player Michael
Laudrup illustrated the point clearly when he commented on a chance he missed in a match: "I
had too much time - I thought over what to do: I did not his properly". Another example is
traditional Zen teaching which recommends "becoming empty" in order to act properly.
Rational consciousness may block the process, but it is also a nescessary partner. In order go
make good collaboration possible, practising the awareness aspect by means of exercises is
useful. The so-called "flow channel" describes a fruitful condition which provides the right
amount of challenging while still avoiding to provoke blockings.
 This article appeared in an issue of Ringgesprch having the general title "Improvisation
between reflex and reflection". See also Eikmeier (2010; G4) who, interestingly, arrives at a very
similar conclusion on a different background.

(g4)/ Gagel, Reinhard: Improvisation als soziale Kunst. berlegungen zum knstlerischen und
didaktischen Umgang mit improvisatorischer Kreativitt. Mainz, Schott 2010. (=ben und
musizieren. Texte zur Instrumentalpdagogik).
This work, written as a PhD at Universitt fr Musik und Darstellende Kunst, Wien, Institut fr
Musikpdagogik, aims at unfolding a system theory view of improvised music. Inspired from
biology, this describes characteristics of the working of complex systems, such as the
phenomena of 'emergence' and an 'affect logic' (Ciompi) which regards emotions as a basis for
how human consciousness focuses on groups of phenomena. It also discusses theoretical
aspects of the social experience with improvised music and aspects of workshop building. This
includes the use of improvisation exercises - work by Peter Hoch, Malcom Goldstein and
Gertrud Meyer-Denkmann is quoted, as well as work by the author.

(g4)/ Nachmanovitch, Stephen: Free Play. Improvisation in Life and Art. N.Y. (Jeremy P.
Tarcher/Putnam, a member of Penguin Putnam Inc.), 1990. Swedish translation: Spela Fritt.
Improvisation i liv och kunst, Gteborg (Ejeby) 2004. Please see the 1945-1999 bibliography in
which this item has been listed as a special exception.

(g4)/ Rzewski, Frederic: "Autonomie des Augenblicks. Eine Theorie der Improvisation",
MusikTexte 86/87 November, 2000.
The author associates improvisation and composition with short- and long term memory. He
views it as having central importance that improvisation is open for the unexpected - a
possibility for playing with turning the cause-effect relation upside down in a dynamic manner.
Also the aspect of here-and-now is associated with the egalitarian aspect.

(g4)/ Wilson, Graeme B and MacDonald, Raymond: The sign of silence: Negotiating musical
identities in an improvising ensemble. Psychology of Music 40 (5):558-573, 2012.
Musicians in a jazz environment and freely improvising musicians describe their playing in
different terms. Instrumental mastery or virtuosity is generally seen as a necessity in the jazz
environment, whereas free improvisors typically make statements relative and like to mention
that other views are possible. This was noted when focusing on the decision-making within the
playing situation whether to play or not play in ten interviews with members of Glasgow
Improvisors' Orchestra, and comparing with findings from earlier studies with jazz musicians.

G5 MISCELLANEOUS WRITINGS

(g5)/ Bruun, Peter og Andersen, Frode: "Noderne p papiret er ikke musik", Dansk Musik
Tidsskrift 4, november, 2000/01.

The line of thought may be summarised approximately like this: music is a rather autonomous
thing and expresses time.
(g5)/ Gagel, Reihard; Joachim Zoepf (Hrsg): Knnen Improvisatoren tanzen?, (Wolke Verlag)
2003.

Documentation from the Symposium Improvisierte Musik in Kln, 21-23. January 2000. With a
CD. Contributions by among others: Gagel, Felix Klopotek, Peter Niklas Wilson
("Rekonfigurationen", on improvisation and composition approaching each other institutionally
and structurally), Johannes Fritsch ("Improvisation und Extase", comparing improvisation with
myth and posing the question about what to do with negative music experiences) and a
manifesto by Wolfgang Schliemann and Joachim Zopf, "Improvisierte Musik - Ars sui generis".

(g5)/ Gronemeyer, Gisela; Oehlschlgel, Reinhard (ed.): Special issue Improvisation,

MusikTexte 86/87 November, 2000.

Also to be mentioned, in addition to those articles having separate entries: "Improvisation als
Herausforderung. Der englische Saxophonist John Butcher" (Martin Pfleiderer) [mentions
among other things Chris Burn's Ensemble]. - Other interviews deal with composers and their
relation to improvisation: Anthony Coleman, Wolfgang Mitterer, Peter Etvs, Hctor Moro and
Bernd-Alois Zimmermann. Trescher's important analytical article about Cardew's Treatise was
already included in my large bibliography as an exception, even if the date is later than 1999
(Trescher 2000;E2).

(g5)/ Hamel, Peter Michael: "Improvisationsformen. Zwischen Experiment und Werkanspruch,

Heilkunde und Sozialarbeit, Volks- und Musikhochschule"in: MusikTexte 100, Februar, 2004.

Historic memories around "Freies Musikzentrum", established in Mnchen 1979. The author
mentions among other things John Cage's critical attitude towards improvisation and the role of
Tonius Timmermann for the development of music therapy.

(g5)/ Nanz, Dieter A.: "Improvisieren und Forschen. Gedanken an Rande der Basler
Improvisationsmatineen", MusikTexte 114, August 2007, p.83-84.
Various reflections on the progress of history and on an arrangement seeking to combine
playing of improvised music and reflecting on it.

(g5) Nanz, Dieter A. (ed.): Aspekte der freien Improvisation in der Musik. Hofheim (Wolke
Verlag) 2011.
A series of concerts with ensuing discussions in Basel, Switzerland arranged by musicians
Nicolas Rihs and Hansjrgen Wldele since 2003 was the background for this book, bearing the
same title. Participating musicians from this series were invited to provide their own answers to
the question: "Which question must be asked in order to understand what is essential for free
improvisation?". The invitation was also extended to musicologists, journalists and composers in
order to further facilitate a common reflection and development of common concepts in order to
make it easier to generally speak about this music form at all. The text on the back of this book
quotes Miriam Sturzenegger for formulating this aim. No source is mentioned, but it is a slightly
edited excerpt of her contribution to a similar discussion - the one following the article Meyer
(2010; G2.2) which had 35 participants in all. It can be found at
http://www.dissonance.ch/de/rubriken/6/95. The present book consists of 33 contributions - and
the vast majority are from persons who did not participate in the previous discussion mentioned!

When directly following playing or listening, many issues for discussion may sponaneously
arise. Thomas Meyer mentions 'form', 'interaction' and 'responsibility' as commonly arising
during the series. Urban Mder provides a detailed documentation of one of his free ensemble
improvisation lessons at Musikhochschule Basel. It can show how dialogue is important for
meaning to arise. What appears highly meaningful in the middle of the discussion may,
however, be not just difficult to "generalise" but simply less illuminating in another context,
maybe precisely because there is too little linking to commonly used concepts. The discourse
easily becomes labyrintic.
A number of authors critisise the notion of 'freedom' as saying too little about free
improvisation. According to Sebastian Kiefer, 'unpredictability' and 'spontaneity' are neither
nescessarily connected to each other, nor is spontaneity a special privilege for improvised
music. For Matthias Kaul (p.53), freedom exists solely in choosing what to play with (perhaps he
means instruments etc) - else, there is a discipline to follow the demands of the context. For
Harald Kimmig (p.138), creativity and intuition are worn-down concepts, easy to misunderstand.
Peter Baumgartner (p.190) is against being a "poetic apologist of the 'moment', of 'prescence',
of 'The New', etc". He points to a predictable dimension in improvisations and to conventional
properties in sounding idioms and interaction. This is elaborated by Rudolf Kelterborn (p.177)
and Claudia Ulla Binder (p.186). The first mentions a lack of 'unorganic' impulses and the
dominance of lengthy gradual developments, the second the recurrence of well-known textures:
with holes, with an integrated mass of sound, or with a climax. It could seem notions like
'freedom' etc., maybe more relevant to the sixties and seventies, have become outdated, and
we need to view free improvisation as a practise in its own right, imposing its own demands on
its practioners.
It may seem easier to provide practical advice to musicians. Walter Faehndrich provides a
number of checklists dealing with the avoidance of clichs, and Lukas Rohner makes his advice
wonderfully clear through graphic visualisations.
Harald Kimmig demonstrates, however, that the goal of reaching common notions in which to
talk about free improvisation is perhaps within reach. He poses five questions: 'what happens
from the point of view of instrumental technique? What happens aesthetically? Is movement
(body), emotion, intellect active? How is communication taking place? Is there a readiness for
risk-taking?'. These questions, says the author, could be posed when facing any music, and
they aim pragmatically at describing 'hard facts'. They could be said to have an ethnological or
sociological flavour, a descriptive character going beyond any purely apologetic views. Thus,
they could make general comparisons possible, both within improvised music and between this
and other musics.
A "thematic register" lists a number of concepts and occurrencies within the book.
See also Nanz (G2.1; 2007), written by the editor, which presents a critical view of the
theorising part of the series, together with an acclaim of the performance part.
Authors other than those mentioned above are Fritz Hauser, Sylwya Zytinska, Malcolm
Goldstein, Christian Kaden, Hans Saner, Philippe Micol, Shristoph Schiller, Carl Ludwig
Hbsch, Claus-Steffen Mahnkopf, Lukas Rohner, Sebastian Lexer, Hans-Jrg Meier, Jacques
Demierre, Lauren Newton, Ren Krebs, Kjell Keller, Michael Vorfeld, Matthias Schwabe, John
Butcher, Markus Waldvogel, Peter Baumgartner. Marianne Schuppe, Daniel Studer, Matthias
Arter, Roland Moser.

(g5)/ Overgaard, Jacob Thorkild: Improvised Music. Essays and Interviews. Copenhagen (Ed.
Wilhelm Hansen, WH 31324), 2011.
The author is a Danish improvising musician who, writing in English, reflects on his own
practise. Apart from Bailey's book he seems largely unaware of the body of English literature
dealing with his subject. But instead, he investigates his subject to a large extent by
introspection and reflection in a sensible way, besides doing interviews and summarising
theorists from neighbouring fields. There is an informal tone to the book, as if the reader had
just met the author after a concert and they were having a conversation over a drink.
Theoretical references and explorations are made especially fruitfully to theatre, in "Essay #5 -
Theatre, Dance and Abstract Painting" (p.94-115). Keith Johnston, father of the concept of
"theatre sport" seems to deliver concepts that characterise free improvisation well in its first
stages from the sixties and on: keywords such as spontaneity and equal status are focused
upon. An interesting deepening out ot this comes aobut by stating the importance of "narrative
skills". We are dealing with an open-ended "storytelling", not "telling a story. Also, spontaneity is
characterised in several ways, with a view to evade the "normal" suppression of "obscene" and
other "strange" contents. Players' attitudes need to be "allowing" to a high degree, and not too
much "blocking", in order to develop the common process. - Paxton, the father of "contact
improvisation", may help to characterise the interactional aspect by introducing the notion of
"friction". It can be seen as related to the method of being connected to other performers. This
situation makes events unpredictable and provides constant challenge to participants. Friction
also occurs between players or sound sources. It may thus, it seems, be regardet as a constant
source of both tension and energy, also in music. It describes a process with multiple
components, very different from traditional concepts of melody and accompaniment.
The book also contains a photo series of Danish and international musicians, and interviews
with Raymond Strid, Torben Sangild, Peter Ole Jrgensen and Vagn E. Olsson.
Readers should be prepared for frequent errors in the English language - in many cases,
Danish expressions have been translated too literally. Instead of "number", read "piece", instead
of "fat", read "cool", etc.

(g5)/ Schwabe, Matthias: Interview med Michael Vetter, ringgesprch ber

gruppenimprovisation LXVII, juni, 2001.
Various information about an important German improvisor. Reflections about the specific
quality of improvisation.

(g5)/ Steen-Andersen, Simon: "Improvisation. Uddrag af en samtale mellem komponisten og

guitaristen Christian Billian og Simon Steen-Andersen", Autograf XI, 2, november, 2002.
Interview with some remarks on improvisation.

(g5)/ Saunders, James (ed.): The Ashgate Companion to Experimental Music (Ashgate), 2009.
Book comprising articles on miscellaneous topics of experimental music generally and
interviews with a number of musicians - all related to English music.
"Writing, music" by Michael Pisaro considers with examples works by Cage, Beuger, Brecht,
Brown, Wolff, Oliveros, Ono, Tenney, Werder and Pisaro. Edwin (Eddie) Prevost's basic
thoughts seem to have found their hitherho most concise form on 13 pages here - see Prevost
(2009; G3).
Improvisors Rhodri Davies and Evan Parker are featured in interviews. They have different
attitudes towards the sounds they work with: Davies sees his work as an ever ongoing
exploration. Even if specific challenges exist to be worked on consistently for a period of time,
he likes to move on to something else at some point - and in some cases leave it to composers
to use the sounds. Parker, on the other hand, is not against the notion of having a "bag" with
known material to use from if he feels it it relevant, neither of using the term of one's own
"sound".

(g5)/ Wilson, Peter Niklas: "Rekonfigurationen. Komposition und Improvisation", MusikTexte

86/87 November, 2000.
The author begins with statements about the greater visibility of improvised music in concert in
recent years. There is a good, full discussion of form concepts, with interesting musicians'
quotations. Also the overlapping of composers' improvisors' roles and their difference after all is
treated here. This article is a very good summarizing of the insights till now of this author.
H. OTHER WRITINGS.

H1 GENERAL ACCOUNTS OF MUSIC HISTORY, DEALING THOROGHLY WITH THEMES

CONCERNING NEW NOTATION FORMS AND/OR IMPROVISATION

(h1)/ Guy de Bivre: Open, mobile and indeterminate forms. PhD, Brunel University 2012.
Available through www.bl.uk
This dissertation examines important aspects of open composition forms in recent music
history, both in the form of a general discussion, and by analysing selected works. A portfolio of
own works is also commented on.
The general section "On Form" focuses especially on the divergent, sometimes even strongly
conflicting, composers' views on openness of composition. Henri Pousseur is pointed to as a
composer who conceived of determination and indetermination as complementing, not
antagonising each other. Also serialism, according to Dominique and Jean-Yves Bosseur, is
viewed by Pousseur "as a tool transgressing the author's omnipresent subjectivity, thus even
meeting Cageian concepts" (p.24).
Another problem touched upon is the possible status of unwritten rules, even if "everything"
seems to be permitted. The author also looks at the typical attitudes to openness in jazz and
concludes (p.36) that "Where the avant-garde composer grants liberties to the performer, the
jazz performer takes ungranted liberties with a composer's work."
And the selection of compositions subsequently analysed surely is a mixed one. The first is
Earle Brown: December 52, which is scrutinised with special focus on its bckground and
genesis, taking in a number of sources studied by the author during a visit to the Earle Brown
Archive. It thus presents hitherho unknown material, alongside the numerous published
interviews and other texts. See the special category g2.4 especially in the "old" department
before 2000 of the present bibliography.
Then follow Miles Davis (Ife 1972-82, analysed on the basis of recordings), Adam Rudolph
("Ostinatos of Circularity" [2011], written materials used for conducted improvisation), Peter
Zummo ("Experimenting with Household Chemicals", recording publ. 1995, traditionally written
parts to be performed in individual tempos and with some choices and liberties) - and Anne la
Berge.
Her pieces may use electronics, be based on a time line, and some are published by
Donemus. Performers may influence the electronics settings and play from general indications
("e.g. melody, sustain, long tones, noise, busy", p. 141). She has an interesting characterisation
of oral versus written communication of musical instructions. "The decision to put works on
paper, rather than communicating them orally, has also to with the symbolic power of paper", de
Bivre says, and quotes the composer: "...because I find oral communication too fleeting and
also too commanding. It doesn't allow them enough room for their own fantasy. ... I think paper
is a sort of God, but it can be disregarded because one can always take a distance from God"
(p.137).

(h1)/ Cox, Christoph; Warner, Daniel (ed): Audio Culture: readings in modern music, USA
(Continuum) 2004.

This is a comprehensive sourcebook covering various aspects of experimental music, including

improvised music.

A section on "The open work" features texts by composers John Cage, Earle Brown and
Anthony Braxton as well as an interview with John Zorn. The three latter texts have not been
described by this author before, and the availability of general remarks by Braxton about how to
deal with his pieces is a valuable thing. The Zorn interview is an important one, maybe the most
important one till now when it comes to information about the game pieces, since it deals in
depth with the evolution of game piece composition over time. It also contains Zorn's declaration
that he likes the game pieces to remain unpublished, since personal instruction is important - a
decision which on one hand is not very helpful for those wishing to study alternatives to a music
tradition being still so deeply fixed to traditional notation. On the other hand this might hopefully
provoke some more people to create their own game pieces. Umberto Eco's influential "The
poetics of the open work" is represented here, very relevant text to go with texts about open
compositions.

In the department for "Improvised musics" one finds texts from Derek Bailey's classic book and
texts by Ornette Coleman (documenting the role of free improvisation in his work) and Frederic
Rzewski (on improvisation and memory). George Lewis' article on "Afrological and EUrological
Perspectives" in improvised music after 1950 is also reprinted.

Other relevant texts to be mentioned in this specific context of improvised music and related
could be ones by John Cage and Cornelius Cardew's "A Scratch Orchestra: Draft Constitution".

The chapters come with informative introductions to each chapter. Credit must go to the editors
for putting the difference between indeterminacy and aleatory devices right in the introduction to
"The open work" and for providing a reasonable, short article on "Visual sounds: Graphic
scores". Each chapter is preceded by a collection of interesting quotations. There is also an
index and a chronology.

With its compilation of essential and useful texts extending into experimental music generally
(including recent developments of DJ culture and electronica) this book is a must for libraries
and will be a most useful tool for students. It is also a much needed initiative in bridging the gap
between American and European experimental / modern music history, taking in materials from
both sides of the Atlantic. May more good discussion and work in this spirit follow...

H2.1 BIBLIOGRAPHIC AND DISCOGRAPHIC LITERATURE

(H2.1)/See also: Borgo (2005;G1.1)

(h2.1)/ See also: Fischlin (2004;G3).

(h2.1)/See also: Rdiger et al (2004;F2).

(h2.1)/See also: Roussel (2000; G2.3)

(h2.1)/ Lukoszevieze, Anton: "Die Welt als Musik durchwandern" - "Nahezu komplettes
annotiertes Werkverzeichnis Philip Corner", MusikTexte 99, December 2003.

The last title contains a list of verbally and graphically notated works by this Fluxus-orientated
composer which is comprehensive and annotated - among other things, instrumentation and
notation are stated.

(h2.1)/ Martinelli, Fransesco: Jolle Landre Discography, Italy (Vivaldi e Bandecchi) 2002.
Please see the 1945-1999 bibliography in which this item has been listed as a special
exception.

(h2.1)/ Sounds99 - inlaybook to 3 CD release. Blue Tower Records,BTCD 09/10/11, 1999

Includes discographies of those musicians participating in this festival.
BIBLIOGRAPHICAL AND OTHER INFORMATION

h2.1.1/ Steinauer, Mathias; Wohlhauser, Ren (ed.): Adesso. Zeitgenssische Musik

verlagsunabhngiger Komponistinnen und Komponisten. Partituren - Tontrger -
auffhrungsmaterial. Katalog 1999/2001, 1999. Please see the 1945-1999 bibliography in which
this item has been listed as a special exception.

H3.1 LITERATURE ON MUSIC THERAPY

(h3.1)/ Bruscia, Kenneth A.: "Response to the Forum Discussion of The "IAPs" In The Nordic
Journal Web-site" in: Nordic Journal of Music Therapy vol. 11, nr. 1, 2002.

Various practical considerations.

h3.1/ Deuter, Martin: "Polarittsverhltnisse. Zu einer musikalisch-psychologischen Benennung

der Improvisation", in: Vermittlungen..musically speaking. Special issue of Einblicke (hrsg. BVM,
Berufverband der Musiktherapeutinnen und Musiktherapeuten in Deutschland e.V.). Zum
Improvisationsunterricht im Musiktherapiestudium / On Improvisation Training in Music Therapy
Training, Heft 12, November, Manus, 2001. Please see the 1945-1999 bibliography in which
this item has been listed as a special exception.

H3.2 WRITINGS RELATED TO THE TEACHING OF INTUITIVE MUSIC AND GRAPHIC

NOTATION AT AALBORG UNIVERSITY AND OTHER PLACES

(h3.2)/ Bergstrm-Nielsen, Carl: "Musicoterapia e improvisacin libre", Tavira (2a poca),

Revista de Ciencias de la Education No 19, Cadiz (Universidad de Cadiz) 2003.

(h3.2)/ Bergstroem-Nielsen, Carl: "Graphic notation in music therapy: - a discussion of what to

notate in graphic notation and how", Approaches 1 (2) (www.approaches.primarymusic.gr),
2009, p.72-92.

(h3.2) /Bergstroem-Nielsen, Carl: "Graphic notation - the simple sketch and beyond". Nordic
Journal of Music Theray 19 (2), Sept. 2010.

(h3.2)/ Cohen, Susanna; Gilboa, Avi; Bergstrm-Nielsen, Carl; Leder, Rivka; Milsteina, Yifat: "A
multi-perspective approach to graphic notation". Nordic Journal of Music Therapy 2011, p.1-23.

(h3.2)/ Gilboa, Avi; Bensimon, Moshe: Putting clinical process into image: a method for visual
representation of music therapy sessions, in: Music Therapy Perspectives 25, 1; Arts Module,
2007.
Authors' abstract: In many instances, music therapists are called upon to analyze their own
work or to present it to others. However, the temporality and complexity of clinical-musical
events generates challlenging difficulties in providing a quick overview of a single session. In
the present paper, a method to visually map the events that occur in music therapy sessions is
proposed, following in the footsteps of authors who have suggested graphical notation as a
possible solution to the problem. The Music-therapy Analyzing Partitura (MAP) is used by the
therapist to describe what happened in a session and is shared with colleagues who may read
and discuss it. The establishment of a standard code is proposed, which is based on known
principles of music notation and new simply designed symbols and icons. Two clinical sessions
with a group are described and the advantages and disadvantages of the MAP are discussed.

(h3.2)/ Gilboa, Avi: Testing the MAP: a graphic method for describing and analyzing music
therapy sessions, The Arts in Psychotherapy 34, 2007.
Authors' abstract: The music therapy analyzing partitura (MAP) is a method that was recently
proposed to visually describe and analyze music therapy sessions. The main objective of this
study was to examine the method and to see if it was in fact clear and usable to music
therapists (MTs). Twenty-six experienced and inexperienced MTs were exposed to a MAP and
to a written verbal description of the same session. Under a time limitation, they answered
informative questions regarding the session and, in addition, indicated the potential of each of
the descriptions to raise and analyze research questions. It was found that MTs could easily
understand the MAP code. When using the MAP, they correctly answered significantly more
questions in comparison with the verbal condition. MTs indicated that the MAP had better
analyzing potential than the verbal description. Suggestions for future development of the MAP,
as well as its possible implications to arts therapists at large, are discussed.

(h3.2)/ Schou, Karin: Forandring belyst ved en case i aktiv musikterapi som personjlig vkst.
Unpublished masters' thesis, Aalborg University, 2003.
Focuses on a case and analyses material from five sessions using graphic notation.

H4 MISCELLANEOUS OTHER WRITINGS

Note. In the large bibliography (1945-1999), this was a category also for various literature
having been mentioned in the text - even including writings I would directly warn the reader
against. In this 2000- list H4 is different: it deals solely with various literature which is directly
relevant.

(h4)/ Gagel, Reinhard: Review of Rhle (2007;G4) in: ringgesprch ber gruppenimprovisation
LXXII, april, 2008.

(h4)/ Gagel, Reinhard: Review of Rzewski (2007;G5) in: ringgesprch ber

gruppenimprovisation LXXII, april, 2008.
(h4)/ Gronemeyer, Gisela; Oehlschlgel, Reinhard (hrsg): Frederic Rzewski. Unlogische
Folgerungen. Schriften und Vortrge zu Improvisation, Komposition und Interpretation, Kln
(Edition MusikTexte) 2007.

(h4)/ Christensen, Erik: "Overt and hidden processes in 20th century music", in: Seibt, J. (ed.):
Crossdisciplinary studies in dynamic categories, Pr. in the Netherlands (Klwer Academic
Publishers) 2003.
Describes two different versions of Variations II (1961) by Cage, thus exemplifying how
different versions may be.

(h4)/ Christensen, Jean: "New Music of Denmark" in White, John D. (ed.): New Music of the
Nordic Countries, USA (u.tr.)(Pendragon Press Musicological series)) 2002.
In addition to a biographically-oriented dealing with generations of individual composers, some
pages deal with experimental tendencies, their organisations and their interaction with
mainstream music life and its organistions.

(h4)/ Gagel, Reinhard: anm. af Wilson: Hear and Now, ringgesprch ber gruppenimprovisation
LXVIII, juni, 2002.
Review of Wilson (1999;G1.1).

(h4)/ Mrchen, Raoul: "Facettenreiches Phnomen. Peter Niklas Wilson in der "edition neue
zeitschrift fr musik"", MusikTexte 99, Dezember, 2003.
Review of the book on reductionism by Wilson. At the back of the issue of MusikTexte in
question there is also an advertisement from the publisher including this book.

(h4)/ Scheib, Christian: "Annherung an das Utopische. Bcher zur improvisierten Musik von
Sabine Feisst und Peter Niklas Wilson, MusikTexte 84, Mai 2000", 2000.
Review of Feisst (1997;G1.1) and Wilson (1999;G1.1). Provides characterisations of the two
books and throws them into relief relating them to each other.

OTHER

I. RECORDINGS

Note. Unlike in the 1945-99 bibliography which, even on a modest scale, attempted to list varied
selections, this is just a residual category listing recordings mostly belonging to some of the
items above! The reader is thus referred to other sources - you may for instance consult
The reviews published on my homepage: http://www.intuitivemusic.dk/intuitive/irev.htm
the links section on my homepage http://www.intuitivemusic.dk/intuitive/ilinks.htm.
I1. VARIABLE WORKS AND MUSIC PLAYED FROM RECIPES

(i1)/ See also Collins (2001; H2.1).

(i1)/ Danish Intuitive Music. Compositions by members of the Group for Intuitive Music: Jrgen
Lekfeldt (Madison Music 1976, 2 versions; Mirror Labyrinth 1997), Carl Bergstrm-Nielsen (A
Meditation on Inner Global Life 1977; Game of Contrasts 1980 Cut it! Sark 1995), Ivan Vincze
(Taking a Walk 1994 from "5 Texts for Intuitive music"; Summer-Swings and Jumps 1996) as
well as by jrgen plaetner (Winter Music 1994; October 6th 1996 from "improvisationskalender".
Also playing: Bla Hamvas Group for Intuitive Music, Birkerd Accordion Orchestra, Lin
Ensemble (all DK) and Edges (UK). Illutrated booklet in English. Intuitive Records, IRCD 003,
2000. AUB DKDM

(i1)/ Bla Hamvas Group for Intuitive Music. Compositions by Vincze, Bergstrm-Nielsen,
Plaetner, Lekfeldt and Stockhausen. Intuitive Records IRCD 004 2004. Illustrated booklet in
English, German and Hungarian languages. AUB DKDM

(i1)/ Leukert, Bernd (ed.): Christian Wolff. Bread and Roses, Wergo WER 6658 2 2003.
This CD contains 10 different, short interpretation of Wolff's "For 1, 2 or 3 People" and thus
amply illustrated how versions may differ. Additionally, there is one long version of Edges. (See
Wilson (g2.5;2003) and Wagner (g2.5; 2003) for the contents of the booklet).

(i1)/ Tyrrestrup, Hans; Segaard, Fredrik and "MusEXP": Nocturnes Compositions 2 x 22.
Includes a music CD, Jelling (Academy of Music, Esbjerg) 2001.
Book with a series of pictures inspiring improvisations from simple instructions. Additionally,
notations representing free fantasy variations over the sounding results have been added. (The
additional information here has been gathered from music author Segaard).

K.EXHIBITIONS OF NEW NOTATIONS AND THEIR CATALOGUES

This list is by exhibition year rising (scroll down to see the rcent ones).

(k)/ Graphic Scores by Ichiyanagi Toshi January 16(Tues.)- 28(Sun.), 2001, Art Space G, Aichi
Arts Center (Japan). In cooporation with KONDO Yasuyo.
(http://www.aac.pref.aichi.jp/english/bunjyo/event/PReport-e/00/00-12gs.html). This item has
been listed in the 1945-1999 bibliography as a special exception.

(k) / Berlin, Akademie der Knste 20. September - 16. November 2008 / ZKM (Zentrum fr
Medientechnologie), Medienmuseum Karlsruhe 1.March - 26.July 2009. Curated by Amelunxen,
Hubertus von; Appelt, Dieter, Weibel, Peter. Notation. Kalkl und Form in den Knsten.
Catalogue: von Amelunxen (2008;(E1)).

(k)/ Notations21: Breaking the boundaries. Chelsea Arts Museum October 2008. Curated by
Theresa Sauer. This exhibition was realised in connection with the publishing of Sauer (2009;
(E1)).
The catalogue consists of 12 pages (28 x 21 cm) and features mainly 3 concert programmes
with notes and composer bios. Pieces are by composers featured in the book, apart from
Means, David.

(k)/ Cox, Christopher: Every Sound You Can Imagine. Programme booklet for the exhibition at
Contemporary Arts Museum Houston, 2008. ISBN 978-1-933619-15-6. Contains the article Cox
(2008; E1). Subsequently shown 2009 at New Langton Arts, San Fransisco.
From the complete listing of works it appears that contents of the exhibition was mostly
unpublished works, also some European. Both the "classic" period from the 1950s and on as
well as recent decades, including many items after 2000, are represented.

(k)/ Notations21: Breaking the coundaries. May 13-31 2009. Hutchins Gallery, C.W.Post
Campus, Long Island University, 720 Northern Blvd, Brookville NY. Curated by Theresa Sauer.
Sauer. This exhibition was realised in connection with the publishing of Sauer (2009;(E1)).
The catalogue consists of 20 pages (28 x 21 cm) and features descriptions and notes on the
exhibited works, with some illustrations. A number of Notations 21 composers participate as
well as Thome, Joel and Chadabe, Joel.

(k)/ Notations21 scores. Picturing the Sounds: Dialects of Contemporary Composers. From
October 7th 2010. The University of New Haven Seton Gallery in Dodds Hall, West Haven, CT
06516. Curated by Theresa Sauer and Christopher Reba. This exhibition was realised in
connection with the publishing of Sauer (2009;(E1)).
The catalogue (14 x 21,5 cm, 12 pages) contains notes by the curators and a concert
programme featuring music by Notations 21 composers, Mohammed Fairouz and Joel
Chadabe, with notes and bios. Christoph Reba's note has an analytical viewpoint that focuses
on what has been added to notation in the historical development: "However different these
various notation systems may seem, taken together, they speak to the universality of musical
expression and interpretation. The role of graphic notation in the world today is to broaden
communication between composer, performer, and listener. When Western notation was first
developed, the composer was concerned about creating a symbol to represent a sound, and in
some sense musical notation is going back to its roots, but at the same time with an eye
towards the future. Contemporary composers have seen many more possibilities. They have
ideas about collaboration, intuition, imagination, improvisation, time and space and stretching
the limits of what we can communicate in symbols."

(k)/ As a part of Festival Blurred Edges 2011 in Hamburg: Exhibition of graphic scores by Phil
Corner, Nikolaus Gerszewski, Roman Haubenstock Ramati, Christoph Herndler. Opening
concert with Von Eden Band playing TEXTURES by Nikolaus Gerszewski. Schute,
Industriestrasse 125, Wilhelmsburg. 15. May 2011 (until?)

(k)/ 2011, 7-21st April. Window exhibition at American Book Center, Spui 12, Amsterdam
Centrum, Netherlands. Book presentation during Gaudeamus Interpreters' Competition.
Concerts with Notations 21 composers Keren Rosenbaum, John Kannenberg and Collin McRae
in other venues.
(k)/ 2011, 19th June - 16th July. La Zonm,7 bis rue des Combattants en Afrique du Nord
06000 Nice, France. "Supports dattaches sons dattaques supposes". Une exposition
centre sur les sons fixs sur supports visuels et textuels. Part of the festival "LArt
contemporain et la Cte dAzur - Un territoire pour lexprimentation, 1951-2011"
Represented are, among others, Florence Cartoux, Eric Corbier, Yann Denais, Augustin
Dupuy, Camille Giuglaris, Florian Gourio, Alexandra Guillot, Henrik, Bruno Lecoq, Thomas
Lippens, Martin Mor, Gal Navard, Aure Ola, Charlotte Pavanello, Pierre Paquette, Manuel
Rosas, Jean-Franois Trubert.

(k)/ 2014, 22nd March 5th April 2014, Library of Birmingham.

Represented composers/visual artists were: Robert Ashley, Cathy Berberian, Janet Boulton,
Gavin Bryars, Earle Brown, Cornelius Cardew, Erik Christensen, Adam de la Cour, Lyell
Cresswell, Brent Michael Davids, Luke Deane, Fred Frith, William Hellermann, Christopher
Hobbs, Anton Lukoszevieze, Christian Marclay, Ren Mogensen, Claudia Molitor, Pauline
Oliveiros, R. Murray Schafer, Carl Bergstrm-Nielsen, Henrik Rasmussen, Theresa Sauer,
Elliott Sharp, Howard Skempton, Ismail Wadada Leo Smith, Maya Verlaak, Michael Wolters.
The exhibition also included postcard scores created by local people, under the guidance of
composer Kirsty Devaney. A selection of these were performed. A performance, "Ringing out"
by Beth Derbyshire and Andy Ingamells with audience participation was carried out 5 times.
Also there were 15 short daily concerts played from works by: Lyell Cresswell, Halim El Dabh,
Wadada Leo Smith, Gavin Bryars, Christopher Hobbs, Fred Frith, Theresa Sauer, Erik
Christensen, Henrik Rasmussen, Carl Bergstrm-Nielsen, Anton Lukoszevieze, Janet Boulton,
Cornelius Cardew, Pauline Oliveros, Herbert Brn, William Hellermann, Ren Mogensen.

(k)/ 2014, Month of June. Simone Spagnolo (graphic scores), The Gallery Caf, Bethnal Green,
London.
The samples shown at the internet pages seem to show fairly traditionally written music,
however arranged in visually unusual ways and illustrated with drawings. They were meant to
be shown onstage during an opera incorporating some audience participation.
http://thegallerycafe.wordpress.com/ - https://www.facebook.com/ItMakesNoDifference/

(k)/ 30.August 2014 - 30.November 2014, Marabouparken, Sundbyberg, Stockholm.

The Great Learning Orchestra: A4 rum. Part of: No sound is innocent. Marabouparken,
Sundbyberg, Stockholm . A catalogue describes the orchestra which has existed since 1999
and consists of a network of around 100 musicians, professionals as well as amateurs, founded
by Leif Jordansson and Pelle Halvarsson. They have the speciality of playing and
commissioning compositions written on one A4 piece of paper.
The composers listed below were represented - and all works have been featured at www.a4-
room.com, including the recordings: Anastasios Logothetis - Anders Erkus - Anna Nygren -
Annika Strm - Arijana Kajfes - Arnold Dreyblatt - Bebe Risenfors - Bjrn Wallgren - Carl-Johan
Rosn - Christian Wolff - Christine dlund - Christopher Hobbs - Cornelius Cardew - Daniel
Bingert - Daniel Goode - Dave Allen - David Jackman - David Liljemark - David Linnros - Ebba
Matz - Emily Roysdon - Erik Bnger - Erik Satie - Eva Lfdahl - Frederic Rzewski - Gilbert
Johansson - Girilal Baars - Gunnar Sandin - Hans Andersson - Henrik Andersson - Henrik
Rylander - Hong-Kai Wang - Howard Skempton - Hugh Shrapnel - Hkan Rehnberg - Hkan
Sandsj - Ingvar Loco Nordin - J.G. Thirlwell - Jacob Dahlgren - Jan Liljeqvist - Jannike Grut -
Jennifer Rahfeldt - Jeremy Cocks - Jesse Glass - Johan Boberg - Johan E. Andersson -
Johanna Billing - Johannes Bergmark - John Cage - Jonas Nobel - LaMonte Young - Lars
Brndum - Leif Isebring - Leif Jordansson - Lina Selander - Lisa Hansson - Lisa Ulln - Lise-
Lotte Norelius - Liv Strand - Maria Arnqvist, Cecilia sterholm, Jari Happalainen - Martin Q
Larsson - Matti Bye - Mattin - Nils Personne - Olof Olsson - Paul Bothn - Paul Burnell - Pelle
Halvarsson - Per Magnusson - Pessi Parviainen - Peter Geschwind - Peter Lindroth - Peter
Schuback - Pontus Langendorf - Rinus van Alebeek - Robin McGinley - Sara Lundn - Shida
Shahabi/ Anton Svanberg - Stefan Klaverdal - Thomas Brandt - Thomas Elovsson - Tommy
Wahlstrm - Tony Harris - Ulf Grahn - Ulrich Krieger.

(k)/ 2014: Mary Fernety & Christoph Herndler: I COULDN`T STAND THE SMELL OF ROSES.
(Notationsgraphik von Herndler). Galerie Forum. Wels, Austria, 2-25. October.

(k)/ 2015 January 23-31. [OpenScores] Kunsthal rhus (Denmark). Arr. by Kunsthal rhus and
AUT - Aarhus Unge Tonekunstnere. Concerts Aarhus January 23 and Copenhagen, January
24. - Kristin Boussard (SE), Vassilis Chatzimakris (GR), Marcela Lucatelli (BR/DK), Neil Luck
(UK), Julie Myers (UK/DE).

Top of page...

1945-1999 bibliography

Carl Bergstroem-Nielsen's Intuitive Music homepage

Contact Carl Bergstroem-Nielsen ...